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CHELSEA  PORCELAIN 


Digitized  by  the  Internet  Archive 
in  2016  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/chelseaporcelainOOking 


FRONTISPIECE. 


Clock  with  case  of  porcelain,  claret- 
coloured  ground  and  figures  in  the 
style  of  Boucher.  One  of  a pair.  H. 
i6f  ins.  (See  page  54.) 

In  the  Royal  Collection  at  Buckingham  Palace. 


CHELSEA  PORCELAIN 
BY  WILLIAM  KING 

OF  THE  VICTORIA  AND  ALBERT  MUSEUM 


WITH  ONE  HUNDRED  AND  SEVENTY- 
ONE  ILLUSTRATIONS  OF  WHICH  SEVEN 
ARE  IN  COLOUR 


NEW  YORK: 

CHARLES  SCRIBNER’S  SONS 


1922 


PRINTED  AND  MADE  IN  GREAT  BRITAIN 


DEDICATED 
TO  MY  MOTHER 


INTRODUCTION 


The  following  pages  embody  the  first  attempt  yet  published  at  a 
monograph  dealing  with  the  porcelain  ol  Chelsea,  Our  knowledge  of 
early  English  porcelain  is  still  very  much  in  the  experimental  stage,  in 
spite  of  the  time  that  has  been  devoted  to  its  study  in  the  last  hundred 
years.  I make  no  apology  for  the  somewhat  cursory  treatment  of  Derby- 
Chelsea  porcelain,  which  belongs  more  rightly  to  the  historian  of  the  later 
Derby  factory.  Little  space  has  been  devoted  to  technical  considerations 
or  to  the  differences  in  style  between  Chelsea  and  the  other  English 
factories  ; such  questions  are  a matter  of  personal  experience  and  contact, 
which  cannot  properly  be  learnt  from  books.  I wish  to  acknowledge  my 
indebtedness  to  the  various  collectors  who  have  helped  me  by  kindly 
allowing  me  to  reproduce  pieces  in  their  possession,  and  similarly  to  Mr, 
R.  L.  Hobson  and  Mr.  F.  A.  Harman  Oates  for  granting  facilities  in  con- 
nexion with  specimens  exhibited  in  the  British  and  London  Museums. 
The  authorities  of  the  Victoria  and  Albert  Museum  have  been  equally  kind 
and  have  further  permitted  me  to  reproduce  some  analyses  of  porcelain 
made  by  Mr.  Herbert  Eccles  and  shortly  to  be  published  by  the  Museum. 
A special  debt  of  gratitude  is  owed  to  Mrs.  Radford  for  materially  increas- 
ing the  value  of  this  book  by  generously  allowing  me  to  reprint  as  an 
appendix  the  unique  copy  of  the  1755  sale  catalogue  in  her  possession. 
Dr.  Bellamy  Gardner  has  very  kindly  given  me  free  access  to  unpublished 
documents  in  his  possession.  And  finally  I must  thank  Mr.  Bernard 
Rackham,  of  the  Victoria  and  Albert  Museum,  for  suggesting  the  inception 
of  this  book  and  for  his  help  and  encouragement  throughout  its  progress, 
as  well  as  for  his  kindness  in  correcting  proofs  and  seeing  the  work 
through  the  Press  during  my  absence  from  England. 


vii 


William  King. 


CONTENTS 

Page 

INTRODUCTION vii 

LIST  OF  ILLUSTRATIONS xi 

I THE  INTERNATIONAL  SITUATION  . 3 

II  ENGLISH  INCUNABULA.  CHELSEA  TRIANGLE  PERIOD IS 

III  RAISED  ANCHOR  AND  RED  ANCHOR 31 

IV  GOLD  ANCHOR 47 

V DERBY-CHELSEA  AND  LATER 61 

APPENDIX.  THE  SALE  CATALOGUE  OF  1755 69 

SELECTED  BIBLIOGRAPHY 131 

INDEX 133 


IX 


LIST  OF  ILLUSTRATIONS 


CLOCK  WITH  CASE  OF  PORCELAIN Frontispiece 

In  the  Royal  Collection  at  Buckingham  Palace. 

The  following  plate  is  placed  as  frontispiece  to  chapter  I : Plate 

DISH  PAINTED  IN  THE  STYLE  OF  KAKIEMON i 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

The  following  plate  is  placed  as  frontispiece  to  chapter  II : 

CHINESE  GROUP  AFTER  BOUCHER  2 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 

The  following  plate  is  placed  as  frontispiece  to  chapter  III : 

MAN  AND  WOMAN  WITH  BASKET 3 

In  the  collection  of  Lord  and  Lady  Fisher. 

The  following  plate  is  placed  as  frontispiece  to  chapter  IV  : 

THE  ROMAN  CHARITY 4 

In  the  collection  of  Mrs.  Radford. 

The  following  plate  is  placed  as  frontispiece  to  chapter  V : 

JASON  AND  MEDEA 5 

In  the  collection  of  Mr.  F.  E.  Sidney. 

The  following  plates  are  placed  at  the  end  of  the  hook  : — 

SALT-CELLAR  DATED  1750 6 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

THREE  “ GOAT  AND  BEE  ” CREAM-JUGS 6 

In  the  collection  of  Lord  and  Lady  Fisher. 

COFFEE-POT 7 

In  a private  collection. 

CANE  HANDLE 8 

In  the  collection  of  Mrs.  Radford. 

BRITANNIA  BEMOANING  THE  DEATH  OF  FREDERICK  PRINCE  OF  WALES  . . 8 

In  the  collection  of  Mrs.  Radford. 

TEAPOT— CHINAMAN  RIDING  A PARROT 9 

In  the  collection  of  Mr.  Wallace  Elliot. 

GROUP  OF  LOVERS 10 

In  the  Franks  Collection,  British  Museum. 

FIGURE  OF  A GIRL 11 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


XI 


LIST  OF  ILLUSTRATIONS 


Plate 

DANCING  GIRL  AND  BOY  WITH  HURDY-GURDY n 

In  the  Victoria  and  Albert  Museum. 

FIGURE  OF  KUAN-YIN 

In  the  collection  of  Mrs.  Radford. 

CUP  WITH  PRUNUS  BLOSSOM  IN  RELIEF 12 

In  a private  collection. 

CHINESE  MUSICIAN 13 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 

THE  DOCTOR,  FROM  A SET  OF  ITALIAN  FIGURES 13 

In  the  collection  of  Mrs.  Radford. 

PAIR  OF  PHEASANTS 14 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 

GOOSE,  PEACOCK  AND  BLACKCAP!  14 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 

PAIR  OF  JAYS 14 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 

GEORGE  III  AS  PRINCE  OF  WALES 15 

In  the  collection  of  Mrs.  Radford. 

WINTER 16 

In  the  collection  of  Mr.  F.  E.  Sidney. 

HURDY-GURDY  PLAYER 17 

In  the  collection  of  Mr.  C.  H.  B.  Caldwell. 

CHINESE  GROUP  AND  FIGURE 18 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 

“ LES  DELICES  DE  L’ENFANCE  ” (engraving  after  Boucher)  ......  18 

TEAPOT  OF  SILVER  SHAPE 19 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

LEAF-SHAPED  DISH 19 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

CREAM-JUG  WITH  KAKIEMON  DECORATION 20 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

TWO  CUPS  AND  SAUCER 20 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

CREAM-JUG 20 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

CUP  AND  SAUCER,  ORIENTAL  DECORATION 21 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

PLATE  IMITATING  IMARI  PORCELAIN 21 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

BARREL-SHAPED  MUG 22 

In  the  collection  of  Lieut.-Col.  G.  B.  Croft  Lyons. 

PLATE  PAINTED  IN  IMITATION  OF  FAMTLLE  ROSE 22 

In  the  collection  of  Mr.  Herbert  Allen. 

CANDLESTICK 23 

In  the  collection  of  Lieut.-Col.  G.  B.  Croft  Lyons. 

PLATE  WITH  iESOP’S  FABLE 23 

In  the  Schreiber  Collection,  Victoria  and  Albert  Museum. 

xii 


LIST  OF  ILLUSTRATIONS 


Plate 

DISH  PAINTED  IN  MEISSEN  STYLE 24 

In  the  Victoria  and  Albert  Museum. 

DISH  WITH  LANDSCAPE  IN  MEISSEN  STYLE 25 

In  the  collection  of  Lieut.-Col.  G.  B.  Croft  Lyons. 

DISH  WITH  HARBOUR  SCENE  IN  MEISSEN  STYLE 25 

In  the  collection  of  Mr.  Herbert  Allen. 

TUREEN  IN  THE  SHAPE  OF  ASPARAGUS  BUNDLE 26 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

TUREEN  IN  THE  SHAPE  OF  A RABBIT 26 

In  the  Schreiber  Collection,  Victoria  and  Albert  Museum. 

PLATE,  FRUIT  IN  COLOURS 27 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

PLATE,  FLOWERS  IN  COLOURS 27 

In  the  Victoria  and  Albert  Museum  ( Jermyn  Street  Collection). 

SWEETMEAT  TRAY  CENTREPIECE 28 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

. VASE 29 

In  the  Franks  Collection,  British  Museum. 

PLATE  PAINTED  IN  UNDERGLAZE  BLUE 30 

In  the  collection  of  Mr.  E.  F.  Broderip. 

BASKET  PAINTED  IN  UNDERGLAZE  BLUE 30 

In  the  collection  of  Mr.  E.  F.  Broderip. 

RATCATCHER  AND  PIERROT 31 

In  the  collection  of  Lord  and  Lady  Fisher. 

HURDY-GURDY  PLAYER  AND  DANCING  PEASANT 32 

In  the  collection  of  Lord  and  Lady  Fisher. 

PEDLAR  AND  MAP-SELLER 33 

In  the  collection  of  Mrs.  Radford. 

FISHERMAN  WITH  BASKET 34 

In  the  collection  of  Lord  and  Lady  Fisher. 

RIVER  GOD 35 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 

RIVER  GODDESS 36 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 

CERES  ......  ..........  37 

In  the  collection  of  Lord  and  Lady  Fisher. 

MAYPOLE  GROUP 38 

In  the  collection  of  Lord  and  Lady  Fisher. 

MADONNA  AND  CHILD 39 

In  a private  collection. 

FIGURES  WITH  FRUIT 40 

In  a private  collection. 

MILKMAIDS  AND  BOY 4x 

In  a private  collection. 

PERSEUS  AND  ANDROMEDA 42 

In  the  collection  of  Lord  and  Lady  Fisher. 

xiii 


LIST  OF  ILLUSTRATIONS 


Plate 

SIX  SCENT-BOTTLES 43 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

FOUR  SCENT-BOTTLES 44 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

SIX  SCENT-BOTTLES 45 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

FOUR  PATCH-BOXES  AND  A SCENT-BOTTLE 46 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

THREE  PATCH-BOXES 46 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

THREE  TOY  FIGURES 47 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

EIGHT  SEALS 47 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

FOUR  FIGURES  OF  GARDENERS 47 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

EIGHT  NEEDLE-CASES 48 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

THREE  CUPS  AND  SAUCERS 49 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

A PLATE  AND  TWO  CUPS  AND  A SAUCER 50 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

TWO  CUPS 51 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

TEAPOT  AND  SUGAR-BASIN  AND  CREAM-JUG  (with  Chinese  subjects)  . ...  51 

In  the  Victoria  and  Albert  Museum. 

BOWL  WITH  VIEW  OF  THE  SITE  OF  CHELSEA  POTTERY 52 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 

BEAKER S3 

In  the  collection  of  Lieut. -Col.  G.  B.  Croft  Lyons. 

COVERED  PORRINGER  WITH  STAND 53 

In  the  collection  of  Lieut. -Col.  G.  B.  Croft  Lyons. 

VASE 54 

In  the  collection  of  Lieut.-Col.  G.  B.  Croft  Lyons. 

SET  OF  THREE  VASES 54 

In  the  collection  of  Lieut.-Col.  G.  B.  Croft  Lyons. 

VASE  OF  SfcVRES  FORM 55 

In  the  collection  of  Lieut.-Col.  G.  B.  Croft  Lyons. 

BOTTLE  PAINTED  IN  IMITATION  OF  CHINESE  ORIGINAL 55 

In  the  collection  of  Mrs.  Radford. 

VASE  WITH  CUPIDS  IN  THE  STYLE  OF  BOUCHER 56 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

DERBY-CHELSEA  VASE 56 

In  the  collection  of  Lieut.-Col.  G.  B.  Croft  Lyons. 

ONE  OF  THE  “ DUDLEY  VASES  ” 57 

In  the  collection  of  Lord  Bearsted. 


XIV 


LIST  OF  ILLUSTRATIONS 


Plate 

TWO  OF  THE  “ DUDLEY  VASES  ” 58 

In  the  collection  of  Lord  Bearsted. 

CUPIDS  AS  DRUMMER  AND  VIVANDIER 59 

In  the  collection  of  Lord  and  Lady  Fisher . 

CUPID  WITH  BAGPIPES  AND  MARIONETTES 59 

In  a private  collection. 

PAIR  OF  CANDLESTICKS 59 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

APOLLO  AND  BACCHUS 60 

In  a private  collection. 

LORD  CAMDEN 61 

In  the  collection  of  Lord  and  Lady  Fisher. 

URANIA  AND  THALIA 62 

In  the  collection  of  Lord  Bearsted. 

UNA  OR  BRITANNIA 63 

In  the  collection  of  Mr.  F.  E.  Sidney. 

PIETA 64 

In  the  collection  of  Lord  Clifford  of  Chudleigh 

DERBY-CHELSEA  TUREEN 65 

In  the  collection  of  Lieui.-Col.  G.  B.  Croft  Lyons. 

DERBY-CHELSEA  CUP  AND  SAUCER 65 

In  the  collection  of  Dr.  and  Mrs.  Bellamy  Gardner. 

DERBY-CHELSEA  TEAPOT 66 

In  the  Victoria  and  Albert  Museum. 

DERBY-CHELSEA  PLATE 66 

In  the  collection  of  Lieut.-Col.  G.  B.  Croft  Lyons. 

DERBY-CHELSEA  SUGAR-BASIN 67 

In  a private  collection. 

FIGURE  OF  GEORGE  III 68 

In  the  Franks  Collection,  British  Museum. 

MARKS 69 


XV 


THE  INTERNATIONAL  SITUATION 


PLATE  i. 


Plate  painted  in  the  style  ot  Kakiemon. 

D.  9i  ins.  (See  page  5.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Chapter  I 


THE  INTERNATIONAL  SITUATION 

Porcelain  was  discovered  by  the  Chinese  at  some  period  during 
the  first  millennium  of  the  Christian  era  ; it  is  a compound  of  two  natural 
minerals,  kaolin  (china-clay)  and  petuntse  (china- stone).  The  former 
remains  unaltered  in  the  heat  of  the  firing,  while  the  latter  fuses  at  a 
high  temperature  and  melts  into  a transparent  glass  ; in  Chinese  phrase- 
ology the  one  is  the  **  bones/'  the  other  the  **  flesh  ” of  porcelain.  During 
the  Middle  Ages  this  material,  mainly  of  the  type  decorated  with  paint- 
ing in  underglaze  blue,  was  exported  to  some  extent  to  Europe,  and  the 
rare  examples  that  exist  with  sixteenth-century  European  silver  mounts 
testify  to  the  high  value  that  was  set  upon  it.  The  attempts  of  potters 
in  Europe  to  imitate  this  precious  substance  resulted  in  the  so-called 
44  Medici  porcelain  ” that  was  made  at  Florence  during  a few  years  at 
the  close  of  the  sixteenth  century.  This  ware  was  not  a true  porcelain 
but  an  artificial  product,  very  similar  in  character  to  the  later  soft  paste 
porcelains  of  France  and  England.  The  Chinese  ingredients  were  not 
at  this  time  known  in  Europe,  and  potters  in  this  continent  were  forced 
to  make  use  of  those  at  their  command.  They  succeeded  in  producing 
an  artificial  glassy  material  known  as  44  frit,"  which  fused  at  a high  tem- 
perature and  combined  with  infusible  clay  to  form  a substance  translucent 
indeed  but  differing  essentially  from  the  true  or  hard -paste  porcelain 
of  the  East.  Soft  paste  is  fired  at  a much  lower  temperature,  it  is  liable 
to  crack  in  hot  water  and  offers  no  resistance  to  a steel  knife,  which  will 
make  no  impression  upon  true  porcelain.  In  spite  of  its  greater  fragility, 
soft  paste  has  an  undeniable  charm  of  its  own,  and  in  many  eyes  it  even 
has  the  advantage  over  the  hard  pastes  of  China  and  Germany  in  its 
creamy  substance  and  soft  glaze,  which  when  painted  incorporates  the 
enamel  colours  with  itself  in  an  individual  and  beautiful  way. 

For  about  a century  after  the  Medici  experiment  no  more  porcelain 
was  made  in  Europe,  and  then  the  secret  of  soft  paste  was  rediscovered 
in  France  in  1673  by  Edme  Poterat  of  Rouen.  The  productions  of  this 
factory  are  of  great  rarity,  but  its  establishment  was  succeeded  during 
the  ensuing  century  by  that  of  a number  of  others.  The  most  important 

3 


CHELSEA  PORCELAIN 


of  these  were  Saint-Cloud,  founded  about  1695,  Chantilly  in  1725, 
Mennecy  in  1734,  and  Vincennes,  the  predecessor  of  Sevres,  in  1738. 

To  Germany  belongs  the  honour  of  being  the  pioneer  of  hard-paste 
porcelain  in  Europe.  Johann  Friedrich  Bottger,  a youthful  alchemist, 
was  imprisoned  in  a tower  at  Dresden  for  the  purpose  of  discovering  how 
to  make  gold.  He  was  unsuccessful  in  this  quest,  but  in  1709  he  did 
discover  how  to  make  true  porcelain.  This  led  to  the  foundation  of  the 
famous  factory,  still  in  existence,  at  Meissen,  near  Dresden.  The  secret 
was  jealously  but  not  effectively  guarded,  and  during  the  succeeding 
years  runaways  from  Meissen  spread  it  abroad.  The  next  half-century 
saw  the  establishment  of  numerous  rival  ventures,  the  most  important 
being  those  of  Vienna,  Hochst,  Fiirstenberg,  Frankenthal,  Nymphen- 
burg  and  Ludwigsburg. 

The  Chelsea  factory  was  founded  in  or  shortly  before  1745,  but  it 
is  not  until  its  re-establishment  about  1749  by  one  Nicholas  Sprimont 
that  we  find  it  noticeably  affected  by  outside  influences.  After  this 
year  come  three  distinctive  waves — the  Oriental,  the  Meissen,  and  the 
Sevres. 

Chinese  porcelain  seems  to  have  had  little  direct  influence  upon 
Chelsea.  The  export  to  England  of  “ blue  and  white  ” china  has  been 
continuous  since  the  sixteenth  century,  but  Chelsea  appears  to  have 
produced  a comparatively  small  quantity  of  this  type,  and  such  specimens 
as  have  been  identified  are  curiously  un- Chinese  in  feeling.  The  gorgeous 
famille  verte  of  K'ang-hsi's  reign  (1662-1722)  and  famille  rose  of  the  later 
eighteenth  century  have  had  almost  as  little  effect  upon  Chelsea  artists. 
A few  rare  imitations  are,  however,  found.  The  plate  reproduced  on 
Plate  22,  Fig.  2,  is  inspired  by  an  original  of  famille  rose  type,  while  the 
bottle  on  Plate  55,  Fig.  2,  is  one  of  a pair,  very  closely  imitating  a form 
of  decoration,  in  coral  red  and  gilding,  that  originated  in  the  reign  of 
K'ang-hsi.  The  so-called  blanc  de  Chine  porcelain  that  was  produced  in 
quantity  throughout  the  seventeenth  and  eighteenth  centuries  at  Te-hua 
in  Fu-chien  province,  is  the  prototype  of  the  two  pieces  on  Plate  12 ; of 
these  the  Kuan-yin  figure  is  exceedingly  rare,  while  the  little  cup  belongs 
to  a well-known  family  decorated  with  prunus-blossom  in  relief,  which 
was  more  extensively  imitated  at  Bow. 

Much  stronger  is  the  influence  of  Japan.  Japanese  porcelain  is  so 
little  considered  by  modern  collectors  that  it  comes  as  a shock  to  realise 
the  enormous  extent  to  which  it  was  reproduced  in  the  European  factories. 
The  ware  in  question  is  the  so-called  Imari  porcelain,  really  made  at 

4 


THE  INTERNATIONAL  SITUATION 


Arita  in  Hizen  province  and  gaining  its  name  from  the  port  of  Imari, 
whence  it  made  its  way  to  Europe.  The  manufacture  appears  to  have 
started  about  the  middle  of  the  seventeenth  century,  and  the  designs  with 
which  we  are  concerned  are  those  generally  associated  with  the  name  of 
the  potter  Kakiemon.  The  patterns  are  slight,  a spray  of  flowers,  a bird 
or  beast  beside  a tree,  sometimes  a figure-subject,  enclosed  within  a diaper 
border  or  simply  edged  with  brown.  They  are  executed  with  a palette 
of  delicate  colours  ; the  predominating  tone  is  red  with  a little  gilding, 
but  pale  blue,  bluish  green  and  yellow  are  also  found.  The  contrast 
between  the  exquisitely  painted  decoration  and  large  expanse  of  cool 
white  background  is  effective  enough,  as  may  be  seen  from  the  specimens 
here  reproduced.  On  Plate  i is  reproduced  in  colours  a dish  of  the 
type  referred  to  in  the  1755  catalogue  as  u tyger  and  rock  " ; other  pieces 
are  shown  on  Plates  20  and  21.  Some  idea  of  the  numerous  quantity  of 
Imari  patterns  in  use  at  Chelsea  may  be  gained  from  this  catalogue,  which 
includes  “ old  japan  pattern/'  **  tyger  and  wheatsheaf,"  **  wheatsheaf 
and  pheasant,"  “ pheasant  and  border,"  **  old  japan  pattern  and  red 
pannel,"  44  nurl'd  partridge  pattern  " and  44  lady  pattern."  The  majority 
of  these  are  more  or  less  traceable,  but  the  following  are  more  puzzling  : 
44  fine  old  pattern,"  44  flaming  tortoise,"  44  Chinese  arms,"  44  old  stork 
pattern  " and  44  Hob  in  the  well."  Some  of  these  may  well  be  of  Imari 
character,  but  none  seems  to  correspond  very  definitely  with  anything 
known  to  be  of  early  date.  The  44  Chinese  arms  " may  possibly  refer  to 
some  attempt  at  emulation  of  the  armorial  porcelain  made  in  such 
quantities  in  China  for  the  European  market  and  painted  over  there  with 
heraldic  designs  supplied  by  the  European  client ; this  family  was  at 
one  time  supposed  to  be  of  Lowestoft  origin,  and  is  still  popularly  known 
as  44  Chinese  Lowestoft."  “ Hob  in  the  well  " presents  a curious  problem. 
This  is  the  title  of  a farce  by  Cibber,  adapted  in  1715  from  Dogget's 
Country  Wake  and  so  popular  in  its  day  as  to  have  inspired  a series  of 
engravings  by  John  Laguerre.  The  rustic  humours  of  these  works  seem 
to  have  no  correspondence  with  Chelsea  porcelain  of  this  date,  and  it 
seems  more  likely  that  it  may  have  been  a nickname  applied  to  some 
particular  pattern  and  taken  from  the  title  of  a play  then  in  vogue.  It 
is  possible  that  the  pattern  in  question  may  be  that,  familiar  enough  on 
Imari  wares  and  on  Meissen  imitations,  which  depicts  the  story  of  the 
boy  who  saved  his  playmate's  life  by  breaking  the  fishbowl  into  which  he 
had  fallen  ; speculation  is,  however,  rather  hazardous,  for  I know  of  no 
Chelsea  version  of  this  theme. 


5 


CHELSEA  PORCELAIN 


Another  type  of  Imari  porcelain,  made  for  export,  is  decorated  chiefly 
in  underglaze  blue,  red  and  gilding.  This  ware  is  of  a coarser  type,  and 
in  consequence  the  pleasing  contrast  of  white  background  and  sparse 
design  is  abandoned  in  favour  of  a pattern  covering  the  whole  surface  of 
the  ware  with  motives,  generally  floral,  derived  from  rich  Oriental  textiles, 
A fine  Chelsea  dish  of  this  family  is  illustrated  on  Plate  21,  So  popular 
did  the  Japanese  type  become  that — a remarkable  feature — it  was  even 
imitated  in  China,  and  the  “ Chinese  Imari  ” of  the  reign  of  K'ang-hsi  is 
well-known  to  collectors  of  Oriental  porcelain.  Here,  as  in  many  of  the 
Japanese  pieces,  the  blue,  red  and  gold  are  usually  heightened  by  touches 
of  the  three  famille  verte  enamels,  green,  yellow  and  aubergine,  A Derby- 
Chelsea  imitation  of  this  kind  of  ware  may  be  seen  on  Plate  66. 

These  Imari  patterns,  more  particularly  the  Kakiemon  variety,  are 
found  extensively  on  early  European  porcelain,  especially  at  Meissen  in 
Germany,  Chantilly  in  France,  and  Bow,  Chelsea  and  Worcester  in  England. 
The  influence  of  Meissen  upon  Chelsea  is  so  strong  throughout  the 
seventeen-fifties  that  it  is  probable  that  some  of  the  Chelsea  Imari  pieces 
are  imitated  from  Meissen  copies  rather  than  from  their  Japanese  originals. 

The  earliest  types  of  Meissen  porcelain  made  between  1709  and  the 
premature  death  of  Bdttger  in  1719  are  simply  decorated  in  the  baroque 
style  ; they  had  little  influence  on  the  porcelain  of  Chelsea  and  need  not 
be  discussed  in  detail.  But  there  is  one  innovation  that  deserves  more 
than  a passing  reference,  and  that  is  figure  sculpture.  It  is  not  strictly 
correct  to  speak  of  this  as  a European  invention,  for  we  find  Chinese 
porcelain  figures  at  least  as  early  as  the  Ming  dynasty  (1368-1643).  On 
the  other  hand,  this  branch  of  ceramic  art  was  developed  in  China  so  little 
and  along  such  different  lines  that  it  is  not  unreasonable  to  give  Bottger 
the  credit  for  what  is  perhaps  the  most  important  European  contribution 
to  the  history  of  porcelain.  For  the  prototypes  of  these  figures  we  must 
probably  look  to  the  German  ivory  statuettes  of  the  period.  We  find 
them  first  at  Meissen  in  red  stone-ware  in  Bottger's  pre-porcelain  days  ; 
a set  of  six  Italian  comedy  figures  in  the  Herzogliches  Museum  at  Gotha 
may  be  mentioned  as  embodying  what  afterwards  became  a very  favourite 
subject  with  porcelain  modellers.  (This  set  is  illustrated  by  Ernst 
Zimmermann,  Die  Erfindung  und  Friihzeit  des  Meissner  Porzellans , Figs. 
56  and  57.)  The  origins  of  the  Commedia  delVArte , as  it  is  called,  are 
lost  in  antiquity,  but  its  personages,  Harlequin,  Columbine,  Pantaloon, 
Scaramuccia,  Bajazzo  and  the  rest,  are  familiar  enough  as  the  ancestors 
of  the  characters  in  our  own  u Harlequinade/'  Other  figures  of  various 

6 


THE  INTERNATIONAL  SITUATION 


kinds  were  turned  out  at  Meissen  during  the  ensuing  years,  but  the  history 
of  Meissen  figure-sculpture  does  not  properly  begin  until  1731,  the  year 
of  the  advent  to  the  factory  of  Johann  Joachim  Handler. 

The  importance  of  Handler's  contribution  to  this  highly  specialised 
branch  of  ceramic  art  cannot  be  overestimated.  During  his  long  period 
of  work  at  Meissen,  from  1731  until  his  death  in  1775,  he  created 
innumerable  models  of  figures  and  groups,  besides  training  successive 
bands  of  apprentices  to  produce  individual  work  in  no  degree  unworthy 
of  their  master ; we  are  less  concerned  at  the  moment  with  the  countless 
improvements  that  he  introduced  in  the  technical  manufacture  of  table 
wares  and  with  the  various  shapes  which  he  devised  for  vases  and  other 
objects  of  ornament  and  utility.  It  must  not,  however,  be  overlooked 
that  the  dividing  line  between  use  and  ornament  is  not  to  be  easily  drawn. 
Many  of  the  figures  are  intended  by  nature  for  other  destinations  than 
the  china-cabinet,  whether  they  are  fitted  as  candlesticks,  salt-cellars 
or  sweetmeat-trays,  or  whether  they  are  meant  to  form  parts  of  the  elaborate 
dinner-table  decorations,  whose  arrangement  for  the  festivities  of  an 
eighteenth-century  German  court  was  conducted  with  all  the  solemnity 
and  ceremonial  splendour  proper  to  such  occasions.  The  following 
extract  from  the  Public  Advertiser  of  March  1,  1756  (quoted  by  Read, 
postscript,  p.  3),  gives  some  idea  of  the  methods  in  vogue  at  this  period. 
Ford  is  advertising  a sale,  mainly  of  porcelain,  and  announces  **  several 
very  curious  Desarts,  used  at  the  most  elegant  and  great  Entertainments 
and  now  divided  into  proper  Lots  : Consisting  of  Domes,  Temples, 
Triumphal  Arches,  Epargnes,  &c.,  embellished  with  Trees,  Arbors, 
Flowers,  China  Figures,  Vauses,  Girandols,  Candlesticks,  Branches,  and 
other  Ornaments  used  at  Desarts,  with  several  sets  of  China  Dishes, 
Plates  and  Tureens."  (See  also  on  this  subject  Adolf  Briining, 
Schauessen  und  Porzellanplastik  in  Kunst  und  Kunsthandwerk,  1906,  vol. 
vii,  p.  130). 

Handler's  earliest  creations  appear  to  have  been  birds  and  beasts, 
together  with  religious  figures  and  groups.  Soon  afterwards  he  enlarged 
his  production  and  began  the  long  series  that  was  to  win  him  his  miniature 
immortality.  It  is  to  about  1740  that  we  can  date  the  introduction  at 
Meissen  of  the  rococo  style,  which  had  made  its  appearance  in  France 
some  eighteen  years  previously.  Boldness  of  modelling  is  succeeded  by 
lightness  and  gracefulness,  a balance  which  owes  nothing  to  literal 
symmetry  and  as  well  a very  pretty  aptitude  for  humorously  rallying 
the  foibles  of  the  day.  The  figures  and  groups  of  this  period  are  sometimes 

7 


CHELSEA  PORCELAIN 


mythological,  sometimes  drawn  from  contemporary  life,  whether  at  home 
or  abroad.  Particularly  charming  are  the  figures,  single  or  grouped, 
of  Cupids  or  playing  children,  often  embodying  a witty  criticism  of  the 
spirit  of  the  age.  The  single  figures  of  Cupids  were  extensively  copied 
at  Chelsea  during  the  gold-anchor  period  (see  Plate  59) ; they  seem  to 
have  originated  there  at  least  as  early  as  1755,  to  judge  from  the  sale 
catalogue  of  that  year.  The  frequent  entry  in  that  document  of  **  love 
in  disguise,  for  desart,”  is  an  incidental  proof  of  the  extensive  use  of 
Chelsea  figures  for  dinner-table  decoration.  Other  series  copied  by 
Sprimont  were  the  Italian  Comedy  figures  already  referred  to  and  the 
Affenkapelle  or  “ monkey  band/'  modelled  originally  in  the  early  'forties 
as  caricatures  of  the  Saxon  Court  Orchestra  at  Dresden  (cf.  Schreiber 
Collection,  cat.  no.  172  and  pi.  18).  **  A set  of  five  figures  of  monkies  in 
different  attitudes  playing  on  musick  ” is  mentioned  in  the  1756  catalogue, 
and  as  no  such  objects  are  recorded  in  1755  we  may  reasonably  date  the 
first  appearance  at  Chelsea  of  these  models  to  the  later  year.  The  singeries 
of  the  early  eighteenth  century  are  generally  an  unsympathetic  phenomenon 
to  modern  eyes,  and  we  need  not  regret  that  Sprimont  forbore  to  develop 
this  idea  further.  Favourite  subjects  again  at  Meissen  were  the  four 
Seasons  represented  by  mythological  figures.  Spring  is  typified  by 
Flora  with  garlands  of  flowers,  Summer  by  Ceres  with  a sheaf  of  corn, 
Autumn  by  Bacchus  with  a bunch  of  grapes,  and  Winter  by  Saturn  warming 
himself  at  a fire.  Often  too  the  Seasons  are  happily  depicted  as  children 
with  the  same  attributes.  The  extensive  series  of  men  and  women  of 
foreign  nations  was  probably  inaugurated  by  some  figures  of  Chinese 
of  grotesque  Oriental  type.  This  stage  lasted  only  momentarily,  and 
the  chinoiseries  of  later  Meissen  are  curiously  like  eighteenth-century 
German  ladies  dressed  up  in  Oriental  clothes,  a very  different  story  from 
the  young  woman  in  the  engraving  after  Boucher  on  Plate  18  or  the 
neighbouring  version  in  Chelsea  porcelain. 

The  earliest  types  produced  at  Meissen  seem  on  the  whole  to  have 
had  little  influence  in  England,  and  it  is  not  until  about  the  year  1725, 
when  painting  in  the  Imari  style  was  first  introduced  at  Meissen,  that 
its  decoration  begins  to  be  of  interest  in  the  present  connexion.  The 
next  few  years  saw  a further  innovation,  this  time  derived  from  China, 
the  introduction  of  ground  colours  with  panels  in  reserve.  In  Chinese 
porcelain  of  the  reign  of  K'ang-hsi  it  is  frequent  to  find  specimens  with 
a ground  of  “ powder  blue  ” — a bright  underglase  blue,  whose  attractively 
uneven  texture  is  produced  by  spraying  through  a tube — overlaid  with 

8 


THE  INTERNATIONAL  SITUATION 


gilding  and  broken  by  panels  of  various  shapes,  in  which  floral  or  other 
designs  are  painted  in  underglaze  blue  or  enamel  colours  of  the  famille 
verte . At  Meissen  this  idea  was  extended  to  other  coloured  backgrounds, 
so  that  as  early  as  1725  we  find  pieces  with  a yellow  ground,  broken  by 
panels  in  reserve,  containing  painting  in  the  Imari  style*  During  the 
next  lustre  the  range  of  ground  colours  is  widened  to  include  various 
shades  of  blue,  grey,  purple,  green  and  red*  By  1732  the  painting  was 
not  confined  to  reserved  panels,  but  could  be  brought  off  on  the  ground 
colour  and  even  on  gold,  in  the  style  later  adopted  at  Chelsea,  of  which 
a specimen  appears  on  Plate  51,  Fig.  1.  Very  soon  the  taste  for  Oriental 
painting  begins  to  wane  ; models  and  drawings  are  supplied  by  Parisian 
and  other  artists,  including  Meissonnier,  who  had  been  instrumental  in 
the  introduction  of  the  rococo  style  into  France*  The  panels  of  the 
seventeen-thirties  are  filled  with  pastoral  or  society  subjects  after  Watteau 
and  Boucher,  with  harbour  scenes,  battles,  landscapes  or  hunting  episodes. 
Gradually  it  is  found  possible  to  dispense  with  the  ground  colours 
altogether  and  these  pastoral  or  other  subjects  are  painted  on  a plain 
white  background.  Sometimes  they  are  painted  in  monochrome  (the 
so-called  camaieu ),  generally  green  or  crimson.  This  type  of  painting 
was  imitated  at  Chelsea  (see  Plate  25).  Another  popular  form  of  decoration 
at  this  period  are  the  borders  of  relief  moulding  commonly  found  on 
plates  and  dishes  ; the  number  of  moulds  employed  was  very  great ; a 
list  of  the  more  important  varieties  with  descriptions  and  illustrations  is 
given  in  the  Meissen  Festive  Publication , p.  29.  An  example  of  this  type 
in  Chelsea  porcelain  appears  on  Plate  24.  During  the  'thirties  a more 
naturalistic  kind  of  flower-painting  comes  into  being.  The  pseudo- 
Oriental  flowers  of  the  previous  years  are  generally  known  as  Indianische 
Blumen  ; the  similar  expression,  “ India  plants,"  of  the  Chelsea  catalogues 
reminds  us  how  little  popular  opinion  at  this  time  cared  to  discriminate 
between  the  productions  of  one  Oriental  state  and  those  of  another.  The 
fact  that  Chinese  porcelain  was  largely  exported  through  the  medium  of 
the  East  India  Company  suffices  to  account  for  the  persistence  of  this  term. 
These  Indianische  Blumen  are  superseded  by  the  so-called  Deutsche  Blumenf 
scattered  over  the  porcelain  in  graceful  haphazard  little  sprays.  As  the 
years  advance,  they  gradually  encroach  more  and  more  upon  the  surface 
of  the  porcelain  ; a similar  tendency  will  be  noticed  at  Chelsea.  So  too 
in  the  domain  of  bird-painting  the  gorgeous  Fantasievogel  or  **  exotic 
birds  " of  the  earlier  days  are  succeeded  by  recognisable  birds  with  natural 
colouring. 


9 


CHELSEA  PORCELAIN 


With  the  advent  of  the  gold  anchor  mark  the  influence  of  Meissen  is 
superseded  by  that  of  Sevres.  This  factory  was  founded  at  Vincennes 
in  1738,  but  it  was  not  until  the  close  of  the  'forties  that  it  began  to  be 
productive  on  any  large  scale.  At  first  by  far  the  largest  proportion  of 
its  output  was  made  up  of  porcelain  flowers.  Following  a fashion  equally 
popular  at  Meissen,  these  flowers  were  naturalistically  modelled  and  were 
used  for  mounting  on  ormolu  stems,  either  to  stand  in  vases  or  to  serve 
as  the  frame  for  a figure,  a candlestick  or  a clock.  It  seems  that  this 
fashion  found  its  way  also  to  Chelsea,  though  owing  to  the  fragile  nature 
of  these  little  objects,  we  are  without  exact  documentation  as  to  the  quality 
of  the  flowers  produced  in  this  country.  An  advertisement  published  by 
Franks  {Archeological  Journal , vol.  xix.,  p.  346),  shows  a certain  Hughes 
announcing  on  May  2,  1755,  the  u greatest  choice  of  Branches  with  the 
best  Flowers,  such  as  were  on  the  Chandelier  at  the  last  Sale  ; and  upward 
of  three  thousand  of  those  Flowers  to  be  sold  by  themselves  so  that  Ladies 
or  Gentlemen  may  make  use  of  them  in  Grottos,  Branches,  Epargnes, 
Flower-pots,  &c.,  agreeable  to  their  own  taste."  The  sale  in  question  is 
hat  of  which  the  catalogue  is  printed  as  an  appendix  to  this  volume,  and 
the  chandelier  is  the  “ large  and  magnificent  lustre  beautifully  ornamented 
with  figures  and  curious  flowers  in  a superb  taste  " of  p.  129.  Similar 
too  are  the  sets  of  seven  jars  and  beakers  of  pp.  122  and  130,  where  the 
beakers  are  specified  as  being  **  filled  with  flowers  after  nature  " and 
“ richly  fill'd  with  curious  flowers."  A set  of  the  same  kind,  the  beakers 
“ filled  with  sprigs  of  flowers,"  is  mentioned  in  the  1756  catalogue.  An 
early  Chelsea  figure,  which  may  have  been  intended  for  embellishment 
in  this  way,  is  referred  to  on  p.  23. 

The  earliest  types  of  Vincennes  decoration  have  little  reference  to 
our  theme,  and  it  is  not  until  we  get  to  the  discovery  of  the  various  ground 
colours  that  the  question  of  influence  arises.  The  first  to  appear  was 
the  rich  gros  bleu , which  was  subsequently  abandoned  in  favour  of  the 
more  brilliant  bleu  de  roi  with  its  inevitable  and  elaborate  diaper  patterns 
in  gilding.  This  appeared  about  1750  and  was  followed  by  turquoise-blue 
in  1752  and  the  various  greens  and  the  lovely  jaune  jonquille  very  soon 
after.  In  1756  the  factory  moved  to  Sevres,  and  in  1757  was  discovered 
the  rose  Pompadour . For  some  reason  this  colour  is  generally  known 
in  England  as  rose  du  Barry,  but  the  name  is  highly  incorrect ; Madame 
du  Barry  never  came  to  court  until  1769,  whereas  after  the  death  of  Madame 
de  Pompadour  in  1764  this  colour  seems  virtually  to  have  fallen  into 
disuse.  It  must  have  been  in  attempting  to  imitate  it  that  Chelsea  hit 

10 


THE  INTERNATIONAL  SITUATION 


upon  the  crimson  or  claret- colour  that  is  so  distinctive  a feature  of  the 
gold-anchor  period  and  one  which  has  never  been  reproduced  elsewhere* 
The  famous  Chelsea  mazarine  blue,  with  its  uneven,  pulsating  tone,  is  a 
reminiscence  of  the  gros  bleu  of  Vincennes,  and  the  pea-green,  turquoise- 
blue  and  yellow  were  all  reproduced  at  Chelsea  after  Sevres  originals. 
Mr.  William  Burton  (Porcelain,  1906,  p.  231)  is  surely  mistaken  in  seeing 
in  the  name  vert  anglais  an  indication  of  Sevres  borrowing  a colour  from 
Chelsea. 

During  this  period  the  Sevres  types  of  decoration  are  closely  copied 
at  Chelsea.  The  rich  ground  of  the  elaborate  rococo  vases  is  covered 
with  intricately  chased  gilding ; on  it  are  reserved  panels  painted  with 
flowers,  birds  or  figure-subjects.  The  flowers  are  more  naturalistic 
than  ever,  the  birds  are  sometimes  treated  in  that  spirit,  sometimes  they 
are  of  the  exotic  variety,  already  abandoned  once  at  Chelsea  in  obedience 
to  the  dictates  of  Meissen.  The  figure-subjects  are  of  every  conceivable 
kind,  mythological,  gallant,  pastoral,  Chinese ; often  they  are  derived 
from  engravings  after  such  artists  as  Boucher,  Rubens,  Teniers  and 
Berghem. 

The  figure-modelling  of  the  seventeen-sixties  at  Chelsea  is  notably 
original.  The  influence  of  Meissen  is  no  longer  strong,  and  there  is  no 
observable  stimulus  from  Sevres.  The  figure-sculpture  of  Sevres  is 
confined  during  this  period  to  the  unglazed  **  biscuit  ” porcelain,  which 
does  not  seem  to  have  found  root  in  England  until  the  Derby- Chelsea 
period.  By  this  time  the  healthy  exuberance  of  the  Louis  Quinze  rococo 
spirit  has  been  superseded  by  the  pseudo-classicism  of  the  age  of  Louis 
Seize,  and  in  England  Boucher  has  to  yield  his  place  to  Angelica  Kauffmann. 

Some  previous  writers  have  endeavoured  to  postulate  a connexion 
between  Chelsea  and  Venice,  on  the  ground  that  the  anchor  mark  was 
used  at  both  places.  It  was,  but  at  Venice  it  does  not  seem  to  have  come 
into  being  until  1756,  which  is  too  late  for  any  possibility  of  influence  on 
Chelsea.  The  anchors,  besides,  are  completely  different  in  form. 
Incidentally  it  is  never  a wise  thing  to  speculate  upon  the  meaning  of 
porcelain  marks,  except  where  this  is  obvious,  heraldically  or  otherwise. 

BIBLIOGRAPHICAL  NOTE 

To  those  who  wish  to  study  in  greater  detail  the  development  of  the  factories 
mentioned  in  this  chapter  the  following  works  may  be  recommended  : — 

Chinese  porcelain  : 

Stephen  W.  Bushell,  Chinese  Art,  vol.  ii.  Second  edition,  London,  1910. 

R.  L.  Hobson,  Chinese  Pottery  and  Porcelain.  London,  1915. 


II 


CHELSEA  PORCELAIN 


Japanese  porcelain  : 

Capt.  F.  Brinkley,  Japan  and  China,  vol.  viii.  London,  1904. 

R.  L.  Hobson,  Worcester  Porcelain.  London,  1910. 

Meissen  : 

Karl  Berling,  Das  Meissner  Porzellan  und  seine  Geschichte.  Leipzig,  1900. 
Willy  Doenges,  Meissner  Porzellan,  seine  Geschichte  und  Kunstlerische 
Entwichlung.  Berlin,  1907. 

Festive  Publication  to  Commemorate  the  200 th  Jubilee  of  the  Oldest  European 
China  Factory,  Meissen.  Dresden,  1911. 

Sevres  : 

Comte  Xavier  de  Chavagnac  and  Marquis  Antoine  de  Grollier,  Histoire  des 
Manufactures  Francoises  de  Porcelaine.  Paris,  1906. 

Georges  Lechevallier-Chevignard,  La  Manufacture  Nationale  de  Porcelaine 
de  Sevres.  Paris,  1908. 

Emile  Bourgeois,  Le  Biscuit  de  Sevres  au  xviiie  Siecle.  Paris,  1909. 


12 


ENGLISH  INCUNABULA 
CHELSEA  TRIANGLE  PERIOD 


* 


PLATE  2. 


Chinese  group,  adapted  from  an 
engraving  after  Boucher.  Raised 
anchor  mark.  H.  8|  ins.  (Seepage 
38.) 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


Chapter  II 


ENGLISH  INCUNABULA.  CHELSEA  TRIANGLE 

PERIOD 

The  early  history  of  English  porcelain  is  still  very  obscure.  Already 
in  1671  John  Dwight  of  Fulham  was  granted  a patent  for  **  the  mistery 
of  transparent  earthenware,  commonly  known  by  the  names  of  porcelain 
or  china/'  but  it  seems  clear  that  his  productions  were  all  of  a fine  stoneware, 
translucent  in  places  but  bearing  little  relation  to  porcelain  in  the  modern 
sense  of  the  word. 

A volume  of  Four  Essays , dated  1718  and  said  to  have  been  originally 
published  in  1716,  contains  one  “ On  making  China  ware  in  England, 
as  good  as  ever  was  brought  from  India."  Its  authorship  is  attributed  to 
the  eccentric  poet  and  speculator,  Aaron  Hill,  and  it  describes  a **  try'd 
and  infallible  method  " in  the  following  words  : “ Let  any  good  workman 
in  the  potter's  profession,  who  would  benefit  himself  by  this  art,  employ 
some  poor  people  to  buy  up  the  old  broken  china,  which  every  house  can 
afford  him.  This  ware  he  must  grind  in  a mill  with  a flat  stone  and  runner. 
The  mill  is  a common  one  and  everywhere  to  be  met  with.  The  powder, 
when  it  comes  from  the  mill,  must  be  further  reduced  and  refin'd  by 
the  assistance  of  water.  . . . The  gross  parts,  which  settle  and  lie  in 
the  bottom,  and  are  not  drawn  off  with  the  water,  may  be  dry'd  and 
ground  over  again  with  new  ware,  so  that  nothing  is  lost  in  this  practice. 
But  the  fine  stuff,  or  substance,  which  will  be  got  from  the  settling  of 
the  water,  when  let  stand  in  the  second  vessel,  must  be  mix'd  with  the 
fourth  part  of  its  weight  of  quick-lime  dissolved  in  gum-water.  The 
quick-lime  here  meant,  must  be  different  from  the  common  sort,  and 
is  made  in  a furnace,  of  what  size  you  please,  by  no  other  labour,  or  charge, 
than  burning  clean  oyster-shells,  as  they  do  chalk,  in  lime-kilns." 

This  curious  passage  is  corroborated  by  the  following  paragraph, 
first  published  in  1764  in  the  second  edition  of  The  Handmaid  to  the 
Arts  (vol.  ii.,  part  iv.),  an  anonymous  work  ascribed  to  Robert  Dossie  : 
**  I have  seen  at  one  of  those  [china  works]  carried  on  near  London, 
eleven  mills  at  work,  grinding  pieces  of  the  Eastern  China,  in  order, 
by  the  addition  of  some  fluxing  or  vitreous  substance  which  might  restore 

15 


CHELSEA  PORCELAIN 


the  tenacity,  to  work  it  over  again  in  the  place  of  new  matter.  The  ware 
commonly  produced  at  this  manufactory  had  the  characters  correspondent 
to  such  a mixture,  for  it  was  grey,  full  of  flaws  and  bubbles,  and,  from 
want  of  due  tenacity  in  the  paste,  wrought  in  a very  heavy  clumsy  manner, 
especially  with  regard  to  those  parts  that  are  to  support  the  pieces  in 
drying.  A very  opposite  kind  is  produced  in  another  manufactory  in 
the  neighbourhood  of  London,  for  it  has  great  whiteness  and  a texture 
that  admits  of  its  being  modelled  or  cast  in  the  most  delicate  manner  ; 
but  it  is  formed  of  a composition  so  vitrescent  as  to  have  almost  the  texture 
of  glass,  and  consequently  to  break  or  crack  if  boiling  water  be  suddenly 
poured  upon  it,  which  quality  renders  it  unfit  for  any  uses  but  the  making 
ornamental  pieces.  A later  manufactory  at  Worcester  has  produced, 
even  at  very  cheap  prices,  pieces  that  not  only  work  very  light,  but  which 
have  great  tenacity,  and  bear  hot  water  without  more  hazard  than  the 
true  China-ware/' 

Mr.  William  Burton,  whose  claim  to  speak  with  authority  is  un- 
impeachable, accepts  these  descriptions  as  indicating  a possible  method 
of  porcelain  manufacture,  and  adds  {English  Porcelain , p.  8)  : — “ One 
would  expect  to  find  that  articles  made  by  such  a process  as  this  would 
show,  when  fractured,  a roughish  body  of  granular  and  uneven  texture, 
and  probably  speckled  throughout  with  black  or  blue  specks  due  to  the 
colours  used  on  the  original  decorated  porcelain.  No  specimens  of  such 
wares  are  definitely  known,  but  an  examination  of  many  pieces,  said  to 
belong  to  the  early  days  of  the  Bow  factory,  reveals  quite  a fair  percentage 
that  might  have  been  made  in  this  way." 

The  identification  of  the  two  factories  mentioned  by  Dossie  is 
uncertain  ; the  second  may  well  be  Chelsea,  but  the  first  hardly  corresponds 
with  what  we  know  of  Bow,  and  may  perhaps  be  one  of  the  Metropolitan 
factories  which  we  know  to  have  existed,  but  whose  work  we  are  still 
not  in  a position  to  identify.  Such  are  Greenwich,  Limehouse,  Stepney, 
Stratford,  Lambeth  and  Battersea. 

Greenwich  is  spoken  of  by  R.  Campbell  in  The  London  Tradesman 
(1747) : — ■“  Of  late  we  have  made  attempts  to  make  porcelain  or 
china-ware  after  the  manner  it  is  done  in  China  and  Dresden ; there  is 
a house  at  Greenwich  and  another  at  Chelsea,  where  the  Undertakers 
have  been  for  some  time  trying  to  imitate  the  beautiful  manufacture." 

Limehouse  is  mentioned  by  Dr.  Richard  Pococke  in  his  Travels 
Through  England  (published  by  the  Camden  Society  in  1888-9),  v°l> 
pp.  7 and  159.  In  July,  1750,  he  writes  of  a recent  visit  to  Newcastle- 

16 


ENGLISH  INCUNABULA.  CHELSEA  TRIANGLE  PERIOD 


under-Lyme  in  Staffordshire  : — “ There  are  some  few  potters  here,  and  one 
I saw  at  Limehouse,  who  seem’d  to  promise  to  make  the  best  china  ware, 
but  disagreed  with  his  employers,  and  has  a great  quantity  made  here  for 
the  oven.”  And  in  November  of  the  same  year  he  writes  from  Bristol : — 
“ I went  to  see  a manufacture  lately  established  here  by  one  of  the 
principals]  of  the  manufacture  at  Limehouse  which  failed.” 

The  name  of  Stepney  is  preserved  by  Jonas  Hanway  in  his  Travels 
(3:753),  vol.  iv.,  P*  228.  After  describing  his  visit  to  the  Meissen  factory 
in  1750,  he  adds  : — “ It  is  with  great  satisfaction  that  I observe  the 
manufactures  of  Bow,  Chelsea  and  Stepney  so  improved.” 

Stratford  is  perhaps  only  Bow  under  another  name.  The  London 
Magazine  for  May,  1753,  says  that  at  Chelsea  and  Stratford  undertakings 
were  carried  on  in  the  greatest  perfection,  so  as  to  emulate  the  elegancies 
of  Dresden  or  Chinese  porcelain.  And  in  the  London  Chronicle , 3:755, 
occurs  the  following  passage  : — **  Yesterday  four  persons,  well  skilled 
in  the  making  British  China,  were  engaged  for  Scotland,  where  a new 
porcelain  manufacture  is  going  to  be  established  in  the  manner  of  that 
now  carried  on  at  Chelsea,  Stratford  and  Bow.” 

Lambeth  figures  in  the  Memoirs  of  John  Bacon , Esq.t  R.A. , published 
in  1801  by  the  Rev.  Richard  Cecil : — •*  In  the  year  1755,  and  at  the  age 
of  fourteen,  Mr.  B.  was  bound  apprentice  to  Mr.  Crispe  of  Bow  Church 
Yard  ; where  he  was  employed,  among  other  things,  in  painting  on 
porcelain.  Mr.  Crispe  had  a manufactory  of  china  at  Lambeth,  to  which 
Mr.  B.  occasionally  went,  and  where  he  assisted.” 

Battersea  is  named  first  by  Dr.  Pococke  in  his  Travels , vol.  ii.,  p.  69. 
Writing  in  August,  1754,  he  says  : — **  From  London  I went  to  see  the 
china  and  enamel  manufactory  at  York  House  at  Battersea.”  This  is  con- 
firmed by  a passage  in  Rouquet’s  L'Etat  des  Arts  en  Angleterre,  a book 
published  in  1755  from  notes  made  by  its  author  during  a visit  in  1753  ; 
he  speaks  of  the  Chelsea  factory,  and  adds  (p.  143)  : — **  II  s’est  etabli 
depuis  peu  une  autre  manufacture  de  porcelaine  dans  le  voisinage  de 
celle-ci,  dont  quelques  ouvrages  sont  peints,  en  camayeux,  par  une  espece 
d'impression.”  It  seems  not  impossible  that  both  these  authorities  are 
confusing  a porcelain  factory  with  a decorating  establishment,  and  that 
porcelain  was  not  actually  made  there  but  only  sent  from  Chelsea  to  be 
decorated.  We  have  no  evidence  that  transfer-printing  was  ever  practised 
at  Chelsea,  and  the  extreme  rarity  of  undoubted  Chelsea  porcelain  with 
this  type  of  decorating  lends  colour  to  the  view  that  such  pieces  as  are 
known  may  have  been  made  at  one  factory  and  decorated  at  the  other. 

17  c 


CHELSEA  PORCELAIN 


To  this  family  belongs  a saucer  in  the  British  Museum  (Catalogue  No.  II 
244)  with  raised  anchor  mark  and  transfer-printed  design  in  black  washed 
over  with  colours. 

Mr.  Hobson  quotes  on  this  subject  a note  by  C.  T.  Gatty  from 
the  Transactions  of  the  Historic  Society  of  Lancashire  and  Cheshire,  vol. 
xxxiii.,  p.  130 : — ■*  There  is  an  advertisement  in  the  Liverpool  Advertiser 
for  nth  February,  1757,  of  an  8vo  pamphlet  which  is  proposed  for  printing, 
entitled  Secrets  in  Art  and  Nature , by  Thomas  Lawrenson,  engraver, 
and  published  by  R.  Williamson  of  Liverpool.  In  this  advertisement, 
chapter  4 is  said  to  contain,  * The  new  and  curious  art  of  printing  or 
rather  reprinting  from  copper-plate  prints,  upon  porclane,  enamel,  and 
earthenware,  as  lately  practised  at  Chelsea,  Birmingham,  &c/  I have 
not  been  able  to  hear  of  a copy  of  this  pamphlet,  and  possibly  it  was  never 
issued.”  In  view  of  the  isolation  of  this  reference,  Mr.  Hobson  suggests 
that  Lawrenson  was  probably  confusing  Chelsea  with  the  neighbouring 
Battersea. 

An  early  reference  to  the  beginnings  of  Chelsea  porcelain  occurs  in 
that  charming  but  untrustworthy  biography,  Nollekens  and  His  Times, 
first  published  in  1828  by  John  Thomas  Smith.  In  a conversation 
recorded  by  Smith  as  taking  place  between  Nollekens  and  Betew  the 
dealer,  Betew  speaks  of  the  Chelsea  factory  and  says  (ed.  Whitten,  1920, 
vol.  i.,  p.  163)  : — “ The  cunning  rogues  produced  very  white  and 
delicate  ware,  but  then  they  had  their  clay  from  China  ; which,  when  the 
Chinese  found  out,  they  would  not  let  the  captains  have  any  more 
clay  for  ballast,  and  the  consequence  was  the  concern  failed.”  This 
ridiculous  story  is  repeated  in  a letter  written  apparently  about  1855  by 
Samuel  Keys,  who  had  been  apprenticed  to  the  Derby  factory  seventy 
years  before,  and  published  by  Chaffers,  3rd  edition  (1870),  p.  594. 
“ About  the  same  time,”  says  Keys,  **  there  was  an  excellent  china 
manufactory  at  Chelsea,  where  a variety  of  splendid  figures,  vases  and 
other  beautiful  ornaments  were  produced,  and  also  a great  assortment 
of  useful  china.  They  employed  first-rate  artists,  in  the  painting,  gilding 
and  general  decoration,  then  superior  to  anything  of  the  kind  in  England, 
but  for  some  mysterious  cause,  at  the  time  unknown,  the  Chelsea  manu- 
factory suddenly  ceased  working,  although  producing  excellent  ware,  and 
being  greatly  encouraged  and  highly  patronised.  The  cause  suddenly  trans- 
pired : English  vessels  which  went  to  China  for  teas  and  other  merchandise, 
were  in  the  regular  habit  of  procuring  clay  from  the  natives  as  ballast  on 
their  return ; but  at  length  becoming  so  prying  for  clay,  the  Chinese 

18 


ENGLISH  INCUNABULA*  CHELSEA  TRIANGLE  PERIOD 


were  suspicious  and  positively  prohibited  clay  being  taken  as  ballast  in 
future  ; the  consequence  was,  the  Chelsea  manufactory  being  deprived  of 
their  principal  material  could  not  carry  it  on" 

As  an  example  of  what  Dillon  ( Porcelain , p.  329)  calls  “ the  senile 
gossip  of  decayed  workmen/'  this  passage  could  scarcely  be  bettered*  It 
has  been  suggested  {Museum  of  Practical  Geology , 1871  Catalogue,  p.  154) 
that  the  origin  of  this  story  is  to  be  found  in  the  fact  that  white  porcelain 
was  imported  to  England  in  quantity  from  China  to  be  decorated  over 
here*  We  certainly  possess  much  Chinese  porcelain  that  has  been  sub- 
sequently painted  at  Chelsea,  and  such  a practice  was  not  confined  to  the 
earliest  years  of  the  factory,  as  is  evident  from  the  character  of  the  painting 
of  such  specimens  as  No*  II  236  of  the  British  Museum  Catalogue* 
Sometimes  the  porcelain  has  already  been  slightly  decorated  in  China, 
generally  in  white  slip  or  underglaze  blue  ; a piece  combining  both 
methods  is  in  the  Schreiber  Collection,  Catalogue  No*  81 1*  A curious 
reference  in  the  Memoirs  of  the  Due  de  Luynes  to  English  factories 
buying  white  China  from  Vincennes  to  decorate  need  scarcely  detain  us. 

The  whole  question  of  porcelain-painting  in  England  at  this  time  is 
complicated  by  the  existence  of  a number  of  individual  painters,  working 
outside  of  the  big  factories  and  often  buying  their  productions  in  the 
white  to  decorate  in  enamel  colours*  To  this  class  of  **  outside  enamellers  " 
belongs  William  Duesbury,  the  subsequent  purchaser  of  the  Chelsea 
factory,  whose  work-book  (quoted  by  Bemrose,  p*  7)  shows  him  to  have 
been  working  in  London  between  1751  and  1753,  decorating  figures 
and  other  pieces  of  Bow,  Chelsea,  Derby  and  Staffordshire  porcelain. 
Another  was  “ Richard  Dyer,  at  Mr.  Bolton's,  enameler,  near  the  Church, 
Lambeth,"  receipted  bills  from  whom  appear  in  the  Bowcocke  papers, 
proving  him  to  have  been  working  for  the  Bow  factory  in  1760.  Another 
was  J.  Giles,  of  Cockspur  Street  (Hobson,  Worcester  Porcelain,  p.  18). 

The  earliest  documents  in  the  history  of  Chelsea  porcelain  are  the 
well-known  “ goat  and  bee  " cream-jugs,  some  of  which  bear  the  date 
1745.  It  is  generally  considered  that  the  factory  was  founded  either  in 
that  year  or  shortly  before.  A document  drawn  up  at  Vincennes  in  1745 
and  quoted  by  Marryat,  3rd  edition,  p.  371,  refers  to  **  un  nouvel  etablisse- 
ment  qui  vient  de  se  former  en  Angleterre  d'une  manufacture  de  porcelaine 
qui  paroit  plus  belle  que  celle  de  Saxe  par  la  nature  de  sa  composition." 
The  factory  in  question  is  probably  Chelsea.  A curious  reference  to  the 
early  years  of  the  factory  is  given  by  Simeon  Shaw,  History  of  the  Stafford- 
shire Potteries  (1829),  P»  *6 7 ♦ — “ Carlos  Simpson,  63  years  of  age  in 

19 


CHELSEA  PORCELAIN 


1817,  was  born  at  Chelsea,  to  which  place  his  father  Aaron  Simpson 
went  in  1747,  along  with  Thomas  Lawton,  slip  maker,  Samuel  Parr, 
turner,  Richard  Meir,  fireman,  and  John  Astbury,  painter,  all  of  Hot 
Lane ; Carlos  Wedgwood,  of  the  Stocks,  a good  thrower ; Thomas 
Ward  and  several  others,  of  Burslem,  to  work  at  the  Chelsea  China 
Manufactory,  They  soon  ascertained  that  they  were  the  principal 
workmen,  on  whose  exertions  all  the  excellence  of  the  Porcelain  must 
depend ; they  then  resolved  to  commence  business  on  their  own  account, 
at  Chelsea,  and  were  in  some  degree  successful ; but  at  length,  owing 
to  disagreement  among  themselves,  they  abandoned  it  and  returned  to 
Burslem,  intending  to  commence  there  the  manufacture  of  China ; but 
soon  after  their  return  Aaron  Simpson  died,  the  design  was  relinquished, 
and  each  took  the  employment  quickly  offered  in  the  manufacture  of 
white  stone  ware,  then  sold  readily  on  the  day  of  drawing  the  oven.” 
What  truth  may  lurk  in  this  narrative  is  impossible  to  decide  ; it  probably 
has  very  little  significance,  except  as  a piece  of  misplaced  local  patriotism 
on  the  part  of  Shaw,  for  it  is  worth  noticing  that  if  his  dates  are  accurate 
the  sojourn  in  Chelsea  must  have  lasted  at  least  until  1754,  the  year  of 
Carlos  Simpson's  birth. 

Three  of  the  “ goat  and  bee  ” jugs  are  reproduced  on  Plate  6.  As 
will  be  seen,  these  jugs  are  supported  on  the  backs  of  two  reclining  goats, 
while  on  the  front  appears  a bee  in  relief.  A spray  of  flowers  in  applied 
relief  and  a handle  in  the  form  of  a branch  complete  the  scheme  of 
decoration  which  is  borrowed  from  a silver  model.  An  example  in 
silver,  bearing  the  London  hall-mark  for  1737-8,  was  formerly  in  the 
Willett  Collection ; Chaffers  (8th  edition,  1897,  p.  907)  speaks  of  its 
authenticity  as  generally  discredited,  and  refers  (9th  edition,  1914,  p.  947) 
to  a genuine  silver-gilt  specimen  with  the  hall-mark  for  1724,  which 
was  at  that  time  in  the  collection  of  Mrs.  A.  R.  Macdonald.  The  repro- 
duction in  porcelain  of  silver  shapes  is  a feature  common  to  most  European 
factories,  and  it  is  remarkable  that  such  an  apparent  misuse  of  material 
should  furnish  on  the  whole  such  agreeable  results. 

Of  the  cream- jugs  on  Plate  6,  that  on  the  right  has  the  mark,  incised 
in  the  paste  before  firing,  of  the  word  “ Chelsea,”  a triangle  and  the 
date  1745.  Another  identically  marked  is  in  the  British  Museum  (Catalogue 
No.  II  1 6a)  ; a third  was  formerly  in  the  collection  of  Mr.  William 
Russell,  and  was  fully  described  by  Franks  in  the  Archaeological  Journal , 
vol.  xix.  (1862),  p.  340  ; it  is  illustrated  by  Jewitt,  vol.  i.,  p.  193.  Another 
in  the  British  Museum  (Catalogue  No.  II  16)  has  **  Chelsea  ” and  the 

20 


ENGLISH  INCUNABULA,  CHELSEA  TRIANGLE  PERIOD 


triangle,  but  no  date.  The  majority,  however,  are  simply  marked  with 
the  triangle ; one  such  is  in  the  Schreiber  Collection  (Catalogue  No.  157, 
and  Plate  14) ; in  this  case  the  model  is  slightly  varied,  the  bee  having 
been  omitted.  Occasionally  the  triangle  mark  is  surrounded  by  a curious 
motive  of  wavy  lines,  as  in  the  left-hand  example  of  Plate  6.  The  body 
of  all  these  pieces  is  creamy  and  very  translucent,  the  glaze  soft  and 
unctuous  ; they  approach  very  nearly  the  appearance  of  opaque  glass. 
If  held  against  a strong  light,  they  often  show  tiny  pinholes  in  the  glaze 
of  a brighter  quality  than  the  surrounding  surface  ; these  are  the  ancestors 
of  the  famous  **  moons  ''  of  the  ensuing  period,  and  may  be  referred  to 
the  same  cause  (see  p.  35).  Sometimes  these  jugs  are  plain  white,  some- 
times one  or  two  features  are  heightened  by  painting,  as  in  the  middle 
example  of  Plate  6.  In  other  cases  the  whole  of  the  raised  decoration 
is  painted  in  naturalistic  colours,  while  the  rest  of  the  surface  is  sprinkled 
with  tiny  pseudo-Oriental  flowers  and  butterflies,  after  the  manner  of 
the  coffee-pot  on  Plate  7,  Such  tiny  flowers  and  insects  are  used 
effectively  enough  to  conceal  any  crack  or  flaw  in  the  surface  ; this  fashion 
persists  on  into  the  next  period,  as  do  the  brown  rims,  first  found  on 
these  jugs  and  afterwards  usual  upon  table  wares  until  the  introduction 
of  gilding. 

It  was  long  believed  that  the  triangle  mark  was  used  at  Bow,  but  it 
is  now  generally  conceded  that  all  pieces  so  marked  may  be  assigned  to 
Chelsea.  Characteristic  of  triangle-marked  wares  are  the  so-called 
44  raised  flowers  ''  of  the  coffee-pot  on  Plate  7,  which  again  suggest  an 
original  in  silver.  They  reappear  on  the  pretty  cane-handle  of  Plate  8, 
Fig.  1,  and  on  two  small  white  cups  without  handles  in  the  Schreiber 
Collection  (Catalogue  No.  161  and  Plate  14).  Another  feature  of  this 
period  are  the  shell-shaped  salt-cellars,  supported  on  rocky  bases  with 
shells  and  other  marine  denizens  in  relief.  To  this  type  belong  the  well- 
known  “ crawfish  salts/'  two  of  which  were  in  Horace  Walpole's  collection 
{Description  of  Strawberry  Hill , 1784,  p.  10),  while  two  are  in  the  British 
Museum  (Catalogue  No.  II  18  and  Fig.  22).  One  of  these  latter  has 
the  numeral  3 incised  in  addition  to  the  triangle.  A simplified  version  of 
the  same  theme  is  illustrated  on  Plate  6 ; this  piece  has  no  triangle,  but 
bears  the  incised  date  1750. 

The  teapot  on  Plate  9 is  a vigorous  piece  of  modelling.  It  represents 
a Chinaman  riding  upon  a parrot,  and  is  a most  interesting  early  example 
of  the  adaptation  of  figure-sculpture  for  domestic  uses.  In  a similar 
teapot  in  the  British  Museum  (Catalogue  No.  II  12  and  Fig.  21)  the 

21 


CHELSEA  PORCELAIN 


Chinaman  is  bestriding  a snake.  The  strawberries  in  relief  on  the  handle 
recall  the  decoration  of  the  “ D.  1750  ” cream-jugs  (see  p.  62),  and  are 
found  on  a Chelsea  cream- jug  of  Imari  pattern  in  the  Victoria  and  Albert 
Museum  (No.  C.  269 — 1921).  Of  figures  proper  the  only  marked  example 
of  this  period  that  seems  yet  to  have  come  to  light  is  the  group  of  rustic 
lovers  on  Plate  10,  which  is  marked  with  a trident  passed  through  a crown 
in  underglaze  blue.  This  mark  was  for  many  years  regarded  as  of  doubtful 
origin,  but  it  may  now  safely  be  ascribed  to  Chelsea  on  the  showing  of 
two  similarly  marked  pieces.  One  is  a white  cup  with  raised  flowers  in 
the  collection  of  Mr.  Frank  Hurlbutt,  of  similar  type  to  those  in  the 
Schreiber  Collection  above  mentioned  ; the  other,  a cream- jug  belonging 
to  Dr.  J.  W.  L.  Glaisher,  F.R.S.,  is  moulded  with  overlapping  strawberry- 
leaves  after  the  fashion  of  a teapot  illustrated  on  Plate  7 of  the  British 
Museum  Catalogue.  Both  of  these  types  are  characteristic  of  Chelsea 
porcelain  of  this  period,  and  Dr.  Glaisher's  cream-jug  shows  by  transmitted 
light  the  pinholes  in  the  glaze  already  referred  to  as  a peculiarity  of  this 
factory.  I should  add  that  I am  indebted  to  Dr.  Bellamy  Gardner  for 
bringing  to  my  notice  this  important  chain  of  evidence  and  for  allowing 
me  to  see,  before  its  publication  in  the  Connoisseur  of  October,  1922,  the 
manuscript  of  an  article  in  which  he  reproduces  photographs  of  the  other 
two  links. 

Other  figures  of  this  period  which  can  be  ascribed  with  certainty 
to  Chelsea  are  very  few  in  number ; they  include  the  waterman  with 
Dogget's  coat  and  badge,  and  the  fortune-telling  group,  both  in  the  British 
Museum  (Catalogue  Nos.  II  3 and  6 and  Fig.  3).  The  great  resemblance 
existing  between  all  the  glassy  soft-paste  porcelains  of  this  time  makes  it 
highly  unsafe  to  attempt  as  yet  anything  in  the  nature  of  an  authoritative 
classification,  especially  in  the  case  of  plain  white- glazed  figures  and 
groups  ; it  is  often  difficult  to  be  certain  if  they  are  English  or  French. 
Even  in  the  case  of  coloured  examples,  it  is  dangerous  to  argue  from 
the  painting  alone,  for  this  may  be  the  work  not  of  any  decorator  at  the 
factory  where  the  figure  was  made,  but  of  one  of  the  **  outside  enamellers  ” 
already  referred  to.  On  Plate  n are  reproduced  three  small  figures, 
which  may  be  regarded  as  Chelsea  work  of  this  early  period.  The  white 
pair  were  lately  given  to  the  Victoria  and  Albert  Museum  by  Lt.-Col. 
Kenneth  Dingwall,  D.S.O.  The  paste  and  glaze  are  characteristic,  and 
the  bases  are  uneven  underneath,  a sign  of  faulty  firing,  which  is  frequent 
in  early  work.  The  curious  bevelled  angles  of  the  base  are  a distinctive 
feature,  which  may  help  in  identifying  further  members  of  this  family. 

22 


ENGLISH  INCUNABULA.  CHELSEA  TRIANGLE  PERIOD 

Their  origin  is  established  by  the  identity  of  the  female  model  with  a 
tiny  seal  of  later  Chelsea  porcelain,  which  will  be  found  illustrated  on 
Plate  47,  Fig.  2.  This  female  model  corresponds  very  closely  with  the 
coloured  figure  of  Plate  1 1 ; the  head,  coiffure,  bosom  and  pose  of  the  feet 
are  in  exact  agreement,  and  there  seems  every  reason  for  regarding  this 
too  as  a piece  of  early  Chelsea  figure-modelling.  The  curious  form  of 
the  base  is  paralleled  by  two  miniature  candlesticks  in  the  Joicey  Bequest 
at  the  London  Museum,  while  the  flower-painting,  if  executed  as  is 
probable  at  the  factory,  will  afford  a valuable  clue  to  the  identification  of 
other  examples.  Naturalism  is  here  considerably  more  developed  than 
in  the  conventionalized  Oriental  flowers  of  Plate  7,  and  the  palette  of 
colours  is  altogether  softer. 

Another  white  figure  of  the  same  girl  has  also  been  lately  given  to 
the  Victoria  and  Albert  Museum  by  Col.  Dingwall  (No.  C.  587 — 1922). 
Here  she  is  shown  seated  in  a swing,  which  hangs  from  a tree  on  either 
side.  The  branches  of  the  trees  point  upwards  and  end  in  narrow  holes, 
which  seem  intended  to  hold  porcelain  flowers  of  the  type  described 
on  p.  10. 

Mr.  Herbert  Eccles,  F.C.S.,  has  kindly  given  me  permission  to 
publish  the  following  chemical  analysis  made  by  him  of  a figure  precisely 
similar  to  the  boy  on  Plate  11. 


Silica 

Per  cent 
. 6388 

Oxide  of  lead 

• 1773 

Alumina  . 

3 26 

Lime 

• 1230 

Phosphoric  acid  . 

•10 

Soda 

I 50 

Potash 

126 

Magnesia  and  copper  . 

. traces 

ioo‘03 

The  heavy  percentage  of  lead  oxide  is  remarkable,  as  the  glaze  was  removed 
before  analysis  ; it  suggests  the  use  of  flint  glass  in  the  composition. 
The  analysis  also  indicates  the  absence  of  bone-ash. 

Our  knowledge  of  the  history  of  the  Chelsea  factory  during  this 
period  is  regrettably  deficient.  As  was  first  pointed  out  by  Nightingale 
(p.  v),  the  General  Advertiser  for  January  29,  1750,  contained  the  following 
announcement : — 


23 


CHELSEA  PORCELAIN 


**  Chelsea  China  Warehouse. 

4*  Seeing  it  frequently  advertised,  that  the  Proprietor  of  Chelsea  Porce- 
laine  is  not  concerned  in  any  shape  whatsoever  in  the  Goods  exposed  for 
Sale  in  St.  James's-street,  called  The  Chelsea  China  Warehouse,  in  common 
justice  to  N.  Sprimont,  (who  signed  the  Advertisement)  as  well  as  myself, 
I think  it  incumbent  publickly  to  declare  to  the  Nobility,  Gentry,  &c., 
that  my  China  Warehouse  is  not  supply 'd  by  any  other  Person  than  Mr. 
Charles  Gouyn , late  Proprietor  and  Chief  Manager  of  the  Chelsea-House, 
who  continues  to  supply  me  with  the  most  curious  Goods  of  that  Manu- 
facture, as  well  useful  as  ornamental,  and  which  I dispose  of  at  very 
reasonable  rates. 

Chelsea  China  Warehouse, 

St.  James's-street,  Jan. 

17th,  1750.  S.  Stables/' 

The  original  advertisement  to  which  this  was  a counterblast  has  not 
been  preserved,  but  it  was  presumably  identical  with  this  extract  from 
the  Daily  Advertiser  of  May  15,  1750  : — 

**  Chelsea  Porcelaine. 

“ The  Publick  is  hereby  informed,  that  the  Sale-Warehouses  at  the 
Manufactory  there  will  from  henceforward  be  constantly  open,  and 
that  New  Productions  are  daily  produced,  and  brought  into  the  Sale-Room. 

“ And  the  Publick  may  be  assured,  that  no  Pains  will  be  spared  to 
extend  this  Manufacture  to  as  great  a Variety  as  possible,  either  for  Use 
or  Ornament. 

**  Note,  The  Quality  and  Gentry  may  be  assured,  that  I am  not 
concern'd  in  any  Shape  whatsoever  with  the  Goods  expos'd  to  Sale  in  St. 
James's-street,  called  the  Chelsea-China  Warehouse. 

N.  Sprimont." 

It  seems  reasonable  to  conclude  from  this  latter  advertisement  that 
Sprimont's  manufacture  was  of  recent  establishment,  and  it  has  generally 
been  held  that  the  factory  was  founded  by  Gouyn  in  or  before  1745  and 
was  taken  over  by  Sprimont  about  1749.  But  it  must  be  owned  that 
the  tone  of  the  advertisements  is  far  from  amicable.  Sprimont's  insistence 
on  his  own  **  porcelaine  " as  opposed  to  Gouyn's  **  china  " is  significant, 
and  we  know  from  a lease  published  by  Bemrose  (p.  26)  that  Sprimont's 
predecessor  in  Lawrence  Street  was  a certain  Lagrave,  who  seems  to 
have  been  unconnected  with  porcelain.  In  this  latter  connexion,  though, 

24 


ENGLISH  INCUNABULA.  CHELSEA  TRIANGLE  PERIOD 


it  may  well  be  argued  that  on  acquiring  the  works  from  Gouyn  Sprimont 
would  be  likely  to  move  to  more  commodious  premises.  The  subject 
of  the  relations  between  the  pair  has  lately  been  reopened  in  two  pamphlets 
issued  by  Messrs.  Hyam  and  Co.  under  the  title  Studies  in  Old  China . 
After  discussion  of  the  question  they  u feel  justified  in  coming  to  the 
conclusion  that  the  factory  was  closed  by  Gouyn  on  account  of  its 
commercial  failure,  to  be  re-established  by  Sprimont,  after  a short  interval, 
on  a more  commercial  and  scientific  basis.”  We  cannot  hope  for  the 
present  to  get  nearer  than  this  to  a full  solution  of  the  problem.  It  does 
not  follow  from  Stables'  advertisement  that  Gouyn  was  still  making  china 
in  1750  ; the  supplies  in  question  may  well  have  been  no  more  than  surplus 
stock. 

If  we  are  right  in  assuming  that  Gouyn  ceased  to  manufacture  when 
Sprimont  began,  it  follows  that  Sprimont  continued  for  a time  using 
very  much  the  same  body  and  glaze,  simultaneously  no  doubt  with  those 
characteristic  of  the  **  raised  anchor  ” period.  The  salt-cellar  on  Plate 
6,  dated  1750,  is  evidence  of  this,  as  well  as  the  figure  on  Plate  8 of 
Britannia  bemoaning  the  loss  of  Frederick  Prince  of  Wales,  who  died 
on  March  31,  1751  ; a similar  figure,  also  white,  is  in  the  British  Museum 
(Catalogue  No.  II  2).  It  will  be  noticed  that  none  of  these  pieces  bears 
the  triangle  mark,  and  it  is  tempting  to  conclude  that  this  mark  was 
abandoned  with  the  retirement  of  Gouyn.  The  triangle-marked  teapot 
in  the  Schreiber  Collection  (Catalogue  No.  377  and  Plate  55)  with  Kakiemon 
decoration  is  probably  a piece  that  was  made  by  Gouyn  but  left  unpainted 
until  the  ensuing  decade. 

The  question  of  Gouyn's  origin  is  a most  puzzling  one.  He  was 
evidently  not  an  Englishman  and  probably  a Frenchman ; Church 
( English  Porcelain , p.  18)  says  44  Gouyn  is  a Flemish  patronymic  ” but 
gives  no  evidence  for  this  statement  and  no  adequate  reason  for  desert- 
ing the  accepted  view.  The  strong  resemblance  between  early  Chelsea 
porcelain  and  that  produced  by  the  French  soft-paste  factories  renders  it 
highly  possible  that  Chelsea  was  started  by  some  refugee  from  St.-Cloud, 
Chantilly  or  Mennecy,  and  if  this  is  so,  Gouyn  may  well  have  been  the 
individual  in  question.  But  all  this  is  a matter  of  the  purest  speculation. 
It  is  sometimes  argued  that  the  foundation  must  have  occurred  several 
years  before  1745,  on  the  ground  that  the  44  goat  and  bee  ” jugs  have  so 
little  the  character  of  experimental  work,  but  if  the  founder  was  already 
a skilled  artist  from  overseas  there  seems  no  reason  why  he  should  not 
have  begun  to  produce  fine  pieces  at  once.  But  in  this  case  we  should 

25 


CHELSEA  PORCELAIN 


expect  the  earliest  Chelsea  porcelain  to  correspond  fairly  exactly  with  the 
work  of  the  contemporary  French  factories,  and  it  is  surprising  to  find  how 
consistently  its  character  for  originality  is  maintained.  We  look  round 
German  and  French  factories  alike  in  vain  for  analogies  to  the  **  goat  and 
bee  ” jugs,  the  relief  pattern  of  overlapping  strawberry  leaves,  the  raised 
flowers  and  the  figure  models.  The  Chinaman  teapot,  it  is  true,  belongs 
to  a type  of  which  specimens  were  modelled  by  Kandler  at  Meissen  (see 
Festive  Publication , Plate  i),  but  the  treatment  is  profoundly  different, 
and  the  absence  of  all  other  traces  of  Meissen  influence  on  Chelsea  at 
this  period  renders  it  probable  that  both  factories  were  borrowing  from 
a common  original,  perhaps  of  metal.  The  modelling  of  the  group  on 
Plate  io,  with  its  suggestion  of  violent  movement  and  passionate  action, 
is  utterly  foreign  to  Meissen  or  France,  and  anticipates  the  spirit,  though 
not  the  letter,  of  that  remarkable  genius,  Franz  Bustelli  of  Nymphenburg. 
The  raised  flowers  are  probably  a development  of  the  prunus-blossom 
commonly  met  with  in  relief  on  blanc  de  Chine  porcelain,  but  they  have 
a strong  suggestion  of  silversmith's  influence  and  there  seems  to  be  no 
continental  analogy  for  such  a variation  on  the  theme.  The  nearest 
perhaps  are  a pair  of  St.-Cloud  toilette-pots  and  covers  in  the  Victoria 
and  Albert  Museum  (Nos.  C.  256  and  257 — 1914) ; they  are  decorated 
with  large  sprays  of  flowers  in  applied  relief  and  painted  in  bright  enamel 
colours — crimson,  blue,  purple,  yellow  and  green,  with  brown  for  the 
rims — of  a somewhat  similar  character  to  the  Chelsea  type.  But  the 
resemblance  is  not  close  enough  to  justify  any  argument  of  a common 
workman,  and  it  is  difficult  to  see  why  a refugee  from  St.-Cloud,  coming 
to  start  a factory  in  England,  should  so  conspicuously  abandon  his  native 
types  of  decoration.  We  look  in  vain  on  Chelsea  triangle-marked  porcelain 
for  any  painting  in  underglaze  blue,  for  close  imitations  of  blanc  de  Chine 
or  patch-boxes  with  human  or  animal  figures.  Such  pieces  are  all  common 
in  the  porcelain  of  Sprimont's  time,  but  we  cannot  trace  them  earlier. 
Equally  absent  are  the  Kakiemon  motives  that  we  should  expect  to  find 
used  by  an  artist  from  Chantilly,  while  neither  the  figure-modelling  nor 
the  flower- painting  show  any  connexion  with  the  characteristic  varieties 
of  Mennecy. 

Gouyn's  origin  must  remain  for  the  present  a mystery.  The  close 
technical  resemblance  between  early  Chelsea  porcelain  and  the  soft  pastes 
of  France  suggest  that  the  recipe  was  brought  by  a deserter  from  one 
of  the  French  factories,  while  the  extreme  individuality  of  modelling 
suggests  the  collusion  of  an  artist  of  remarkable  distinction,  who  may 

26 


ENGLISH  INCUNABULA.  CHELSEA  TRIANGLE  PERIOD 


possibly  have  started  life  as  a silversmith.  Even  if  there  be  any  truth 
in  this  hypothesis,  there  is  no  evidence  as  to  which  part  was  played  by 
Gouyn,  whose  very  name  would  be  unknown  to  us  but  for  the  preservation 
of  that  single  announcement  in  the  General  Advertiser . 

The  significance  of  the  marks  used  is  an  unprofitable  subject  for 
speculation.  Such  marks  are  confined  hitherto,  as  we  have  seen,  to  an 
incised  triangle  in  various  connexions  and  a crown  and  trident  in  under- 
glaze blue.  The  occurrence  of  the  latter  pigment  at  this  early  date  suggests 
that  somewhere  or  other  specimens  of  Chelsea  **  blue  and  white  " of  this 
period  may  exist,  but  no  piece  has  yet  been  identified.  It  appears  that 
the  triangle  also  is  found  in  underglaze  blue.  Chaffers  (3rd  edition, 
p.  71 1)  speaks  of  sets  of  four  **  crawfish  salts  " in  the  respective  collections 
of  Mr.  C.  W.  Reynolds  and  Dr.  Diamond,  marked  with  a blue  triangle. 
In  the  eighth  edition  of  the  same  work  (1897),  p.  908,  reference  is 
made  to  a singular  piece  in  the  following  words  : **  Mr.  Borrodaile  has 
a leaf-shaped  dish,  which  was  formerly  in  Dr.  Diamond's  collection, 
which  bears  this  mark  [the  word  4 Chelsea/  a triangle  and  the  date 
1745]  in  blue,  only  the  date  is  1747  instead  of  1745.  It  has  also  a small 
impressed  anchor.  It  is  the  soft  paste  of  the  early  period  of  Chelsea." 
It  is  unfortunate  that  the  decoration  on  this  tray  is  not  described,  for  apart 
from  the  importance  that  any  dated  piece  must  always  have  the  present 
example  must  be  of  peculiar  interest,  since  it  has  hitherto  been  assumed 
that  neither  the  leaf  shape  nor  the  anchor  mark  were  used  at  Chelsea  until 
the  arrival  of  Sprimont.  It  must  be  owned,  however,  that  Chaffers  is 
often  inaccurate  as  well  as  irritating.  The  current  edition  (1914)  con- 
tains a reference  to  two  turquoise- ground  vases  and  covers  then  in  the 
possession  of  Lady  Dorothy  Nevill  and  bearing  the  mark  of  an  incised 
triangle.  This  statement  is  conceivably  true,  but  in  that  case  the  triangle 
is  simply  a workman's  or  owner's  mark  and  bears  no  relation  to  the 
subject  under  discussion. 


27 


RAISED  ANCHOR  AND  RED  ANCHOR 


PLATE  3. 


Man  and  woman  with  baskets.  The 
woman  marked  with  a red  anchor. 

H.  8J  and  8J  ins.  (See  page  40.) 

In  the  collection  of  Lord  and  Lady  Fisher. 


Chapter  III 


RAISED  ANCHOR  AND  RED  ANCHOR 

In  considering  the  question  of  the  original  founders  and  patrons 
of  the  Chelsea  factory  it  is  not  advisable  to  attach  too  much  importance 
to  the  statements  of  Mid-Victorian  authorities.  Marryat  (ist  edition, 
p.  174)  says  that  George  II  gave  the  factory  his  especial  patronage,  causing 
models,  workmen  and  even  materials  to  be  procured  from  Brunswick 
and  Saxony.  Though  it  is  true  that  Chelsea  employed  models  and 
even  workmen  from  Meissen,  there  seems  no  reason  for  supposing  that 
this  was  in  any  degree  due  to  the  king,  no  connexion  of  whom  with  the 
factory  is  elsewhere  recorded.  Marryat  goes  on  to  say  that  the  Duke 
of  Cumberland  also  took  the  factory  under  his  special  protection  and 
allowed  an  annual  sum  for  its  support,  further  that  Sir  Robert  Faulkner 
likewise  interested  himself  greatly  in  its  success.  This  mythical  version 
of  the  name  of  Sir  Everard  Fawkener  is  borrowed  from  Alexander  Stephens, 
Stephensiana  (1821),  and  from  Thomas  Faulkner,  History  of  Chelsea 
(1829),  vol.  i«>  P*  273.  Marryat  in  his  third  edition  (p.  370)  adds  that  the 
factory  is  said  to  have  been  founded  by  Francis,  first  Earl  and  Marquis 
of  Hertford,  who  brought  over  workmen  from  Dresden  with  some  of 
the  Saxon  clay  ; the  authority  for  this  is  apparently  a MS.  note  by  Octavius 
Morgan,  who  had  in  the  meantime  forgotten  his  reason  for  making  it. 

Less  exasperating  and  more  reliable  is  the  account  of  Mason,  a 
workman  at  the  factory,  quoted  by  Chaffers,  3rd  edition,  p.  701  : — “ I 
think  the  Chelsea  China  Manufactory  began  about  the  year  1748  or  1749. 
I went  to  work  about  the  year  1751.  It  was  first  carried  on  by  the  Duke 
of  Cumberland  and  Sir  Everard  Fawkener,  and  the  sole  management 
was  entrusted  to  a foreigner  of  the  name  of  Sprimont,  report  says,  at  a 
salary  of  a guinea  per  day,  with  certain  allowance  for  apprentices  and 
other  emoluments.  I think  Sir  Everard  died  about  1755,  much  reduced 
in  circumstances  ; when  Mr.  Sprimont  became  sole  proprietor ; and 
having  amassed  a fortune,  he  travelled  about  England,  and  the  manufactory 
was  shut  up  about  two  years,  for  he  neither  would  let  it  or  carry  it  on 
himself.  I then  went  to  work  at  Bow  for  a short  time,  which  was  carried 
on  by  a firm,  but  I don’t  recollect  their  names.  I went  to  work  again 

3i 


CHELSEA  PORCELAIN 


at  Chelsea  for  Mr.  Sprimont,  after  being  absent  between  two  and  three 
years,  where  I stopped  till  I engaged  with  Mr.  Duesbury  to  go  to  Derby, 
which  was  about  the  year  1763.  I think  there  was  very  little  business 
done  there  after  that  time.  What  time  Mr.  Duesbury  made  a purchase 
of  it  I don't  recollect,  but  some  of  the  materials  were  taken  to  Derby." 

The  exact  nature  of  the  connexion  between  the  Chelsea  factory,  the 
Duke  of  Cumberland  and  Sir  Everard  Fawkener  is  still  a matter  of  doubt. 
William  Augustus,  Duke  of  Cumberland  (b.  1721^.1765), was  son  of  George 
II  and  a distinguished  general,  who  hardly  deserves  to  be  remembered  as 
**  the  butcher  of  Culloden."  Sir  Everard  Fawkener  was  born  in  1684  and 
died  in  1758.  He  began  life  as  a merchant  and  was  Voltaire's  host  at 
Wandsworth  in  1726-9.  About  1735  he  was  knighted  and  sent  as 
ambassador  to  Constantinople ; in  1744  he  was  appointed  secretary  to 
the  Duke  of  Cumberland,  whom  he  accompanied  on  his  campaigns  in 
Flanders  and  Scotland,  receiving  in  1745  the  lucrative  office  of  joint 
postmaster-general.  On  his  death  in  1758  his  family  are  said  to  have 
been  left  in  bad  circumstances. 

Lord  Ilchester  published  in  1911  {Burlington  Magazine , vol.  xx., 
p.  361)  part  of  a letter  written  from  Dresden  on  June  9, 1751,  by  Sir  Charles 
Hanbury  Williams  to  Henry  Fox  in  England.  The  following  passage 
may  here  be  quoted  : — **  I received  a letter  about  ten  days  ago  from  Sir 
Everard  Fawkner,  who  is  I believe  concerned  in  the  manufacture  of 
China  at  Chelsea.  ...  I find  also  that  the  Duke  is  a great  encourager 
of  the  Chelsea  China  and  has  bespoke  a set  for  his  own  table." 

It  seems  likely  that  this  represents  the  true  state  of  affairs,  and  that 
Cumberland's  connexion  with  the  factory  was  confined  to  patronage  of 
this  kind.  Busts  of  him  in  white-glared  porcelain  are  fairly  numerous  ; 
see  British  Museum  Catalogue  No.  II  1 and  Plate  6 ; Schreiber  Collection, 
Catalogue  No.  133  and  Plate  14 ; some  specimens  have  the  raised  anchor 
mark.  A newspaper  rumour  in  1763  that  the  Duke  was  thinking  of 
buying  the  factory  was  instantly  contradicted  by  Sprimont,  and  is  probably 
without  more  significance  than  such  a press  report  would  be  to-day. 
Fawkener  was  evidently  in  closer  relations  with  the  factory  and  may  well 
have  financed  the  whole  venture.  This  would  agree  with  the  testimony 
of  Rouquet  (see  p.  17),  who  says  ( Etat  des  Arts , p.  143)  : — u On  trouve  aux 
environs  de  Londres  trois  ou  quatre  manufactures  de  porcelaine,  celle  de 
Chelsea  est  la  plus  considerable  ; un  riche  particulier  en  soutient  la 
depense ; un  habile  artiste  fran^ois  fournit  ou  dirige  les  modeles  de  tout 
ce  qui  s'y  fabrique." 


32 


RAISED  ANCHOR  AND  RED  ANCHOR 


The  artist  in  question  was  presumably  Sprimont,  and  as  both  Rouquet 
and  Walpole  (see  p.  49)  refer  to  him  as  a Frenchman,  there  seems  little 
reason  for  Church's  attempt  ( English  Porcelain , p.  18)  to  prove  him  a 
Fleming.  His  nationality  is  in  any  case  of  small  moment.  We  know 
singularly  little  of  his  personal  history  prior  to  his  establishment  at  Chelsea. 
He  entered  his  name  at  Goldsmiths'  Hall  as  a plateworker  in  January, 
1742,  and  a pair  of  oval  silver-gilt  dishes,  dated  1743-4,  with  scalloped 
edges,  ornamented  with  shells  and  corals  in  high  relief,  are  in  the  collection 
at  Windsor  Castle  (see  Church,  English  Porcelain , p.  19 ; also  South 
Kensington  Museum,  1862  Exhibition,  Catalogue  Nos.  5,491-2,  and 
Chaffers,  Gilda  Aurifabrorum , pp.  89  and  149). 

This  aspect  of  his  career  is  mentioned  in  an  anonymous  document 
in  the  British  Museum  (Lansdowne  MSS.,  No.  829,  fol.  21),  of  which 
Sprimont  was  clearly  the  author.  This  work  is  entitled  The  Case  of 
the  Undertaker  of  the  Chelsea  Manufacture  of  Porcelain  Ware . It  has 
been  quoted  in  full  by  Marryat  (3rd  edition,  p.  373)  and  Jewitt  (vol.  i., 
p.  171),  but  it  is  sufficiently  important  to  render  necessary  the  repetition 
of  a few  passages.  That  the  date  cannot  be  earlier  than  1752  is  fixed  by 
the  mention  of  “ the  late  Duke  of  Orleans,"  while  a later  year  than  1759 
is  made  impossible  by  the  reference  to  a factory  belonging  to  the  King 
of  Naples.  This  monarch's  factory  of  Capodimonte  was  transferred 
to  Buen  Retiro,  Madrid,  on  his  accession  to  the  Spanish  throne  in  1759, 
and  no  porcelain  at  all  seems  to  have  been  made  at  Naples  between  that 
year  and  1771.  Sprimont  speaks  of  himself  in  the  following  words  : — 

“ This  undertaker,  a silversmith  by  profession,  from  a casual  acquaint- 
ance with  a chymist  who  had  some  knowledge  this  way,  was  tempted 
to  make  a trial,  which,  upon  the  progress  he  made,  he  was  encouraged  to 
pursue  with  great  labour  and  expense  ; and  as  the  town,  and  some  of  the 
best  judges,  expressed  their  approbation  of  the  essays  he  produced  of  his 
skill,  he  found  means  to  engage  some  assistance. 

“ The  manufacture  was  then  put  upon  a more  extensive  footing, 
and  he  had  the  encouragement  of  the  public  to  a very  great  degree,  so 
that  the  last  winter  he  sold  to  the  value  of  more  than  £3,500,  which  is  a 
great  deal,  considering  the  thing  is  new.  . . . 

“ The  manufacture  in  England  has  been  carried  on  so  far  by  great 
labour  and  at  a large  expense  ; it  is  in  many  points  to  the  full  as  good  as 
the  Dresden,  and  the  late  Duke  of  Orleans  told  Colonel  York[e]  that  the 
metal  or  earth  had  been  tried  in  his  furnace,  and  was  found  to  be  the 
best  made  in  Europe.  It  is  now  daily  improving,  and  already  employs 

33  D 


CHELSEA  PORCELAIN 


at  least  one  hundred  hands,  of  which  is  a nursery  of  thirty  lads  taken  from 
the  parishes  and  charity  schools,  and  bred  to  designing  and  painting.  . . ” 

This  document  was  written  as  an  appeal  to  stop  the  continued  illegal 
importation  **  as  for  private  use/'  and  therefore  practically  free  of  duty, 
of  large  quantities  of  Dresden  porcelain,  which  subsequently  found  their 
way  into  commerce,  to  the  extreme  detriment  of  the  Chelsea  factory, 
which  being  a private  undertaking  found  it  impossible  to  compete  with 
a rival  subsidised  by  royalty. 

However,  it  must  not  be  imagined  that  the  Chelsea  works  were 
languishing  through  inanition,  even  if  no  notice  was  taken  of  Sprimont's 
plea.  We  have  seen  that  his  earliest  connexion  with  the  factory  was 
probably  in  1749,  and  in  the  following  year  we  find  Mr.  Ford  announcing  in 
the  General  Advertiser  of  December  4,  1750,  the  sale  of  u curious  Dresden 
and  Chelsea  figures  **  (Nightingale,  p.  vii).  By  1754  the  factory  was  in 
a flourishing  state;  in  the  Public  Advertiser  of  March  29  of  that  year 
occurs  Ford's  announcement  of  the  first  sale  by  auction  to  be  devoted 
entirely  to  Chelsea  porcelain,  **  brought  from  the  Manufactory  there  and 
the  Warehouse  in  Pall  Mall ; consisting  of  Epargnes  and  Services  for 
Deserts,  beautiful  Groupes  of  Figures,  6cc.,  complete  Table  Sets  of  round 
and  Oval  Dishes,  Tureens  and  Plates,  with  the  greatest  Variety  of  other 
useful  and  ornamental  Pieces,  all  warranted  True  Enamel  ” (Nightingale, 
p.  ix).  The  sale  lasted  fourteen  days  and  was  evidently  a success,  as 
in  spite  of  the  announcement  that  no  further  sales  would  take  place  that 
year  we  find  another  held  by  Ford,  which  began  on  December  16  and  was 
devoted  entirely  to  toys  (see  p.  56).  It  is  to  be  hoped  that  some  day  a 
copy  of  this  catalogue  may  come  to  light ; it  would  be  a material  aid  in 
our  efforts  to  trace  the  sequence  of  production  at  Chelsea. 

In  1755  we  come  upon  surer  ground ; in  this  year  Ford  held  the  second 
annual  sale,  of  the  catalogue  of  which  a single  copy  is  known  to  exist ; 
by  the  generous  permission  of  its  owner,  Mrs.  Radford,  it  will  be  found 
reprinted  in  full  as  an  appendix  to  the  present  volume.  This  sale  began 
on  March  10  and  lasted  for  sixteen  days,  comprising  no  less  than  1,660 
lots.  The  third  annual  sale  began  on  March  29,  1756,  and  lasted  equally 
for  sixteen  days,  comprising  1,618  lots.  A single  copy  of  the  catalogue 
was  discovered  in  the  year  1877  and  was  reprinted  in  full  three  years 
later  by  its  owner,  R.  W.  Read.  After  1756  no  sale  was  held  for  three  years, 
and  it  seems  probable  that  the  factory  was  closed  during  a large  part  of 
this  time  in  consequence  of  the  illness  of  Sprimont.  This  would  agree 
in  effect  with  the  account  of  Mason,  who  may  well  have  never  heard,  or 

34 


RAISED  ANCHOR  AND  RED  ANCHOR 


have  subsequently  forgotten,  the  real  cause.  In  any  case  Sprimont 
was  certainly  ill  during  this  period ; a paragraph  in  the  Public  Advertiser 
of  February  15,  1757,  says: — ■*  The  public  is  hereby  acquainted  that  the 
Chelsea  Porcelaine  Manufactory  has  been  very  much  retarded  by  the 
Sickness  of  Mr,  Sprimont.  Nevertheless  several  curious  things  have 
been  finished,  which  will  be  exposed  to  Sale  at  the  Warehouse  in  Piccadilly, 
some  time  the  beginning  of  March,  of  which  more  particular  Notice  will 
be  given/' 

The  porcelain  of  the  early  Sprimont  period  is  marked,  if  at  all,  with 
an  anchor,  sometimes  in  applied  relief  on  an  oval  medallion  (the  so-called 
44  raised  anchor,"  either  white  or  outlined  in  red),  sometimes  simply 
painted  in  red.  The  raised-anchor  mark  is  usually  supposed  to  be  earlier 
than  the  other,  but  the  occurrence  of  the  two  marks  indifferently  on  pieces 
from  the  same  service  or  companion  figures  (e.g.  Schreiber  Collection, 
Catalogue  No.  167)  shows  that  they  were  used  on  occasion  at  the  same 
time.  Perhaps  we  may  take  1753  as  the  approximate  year  in  which  the 
raised  anchor  was  finally  supplanted  by  the  other  mark.  That  the  raised 
anchor  was  used  at  least  as  late  as  this  year  seems  probable  from  the  exist- 
ence of  such  a piece  as  the  transfer-printed  saucer  in  the  British  Museum 
which  bears  this  mark  (see  p.  18).  It  is  suggested  by  Mr.  Hobson  that 
this  specimen  was  decorated  at  Battersea,  where  transfer-printing  does 
not  seem  to  have  been  practised  until  1753.  The  occurrence  however 
in  the  1755  catalogue  of  a number  of  examples  of  well-known  44  raised 
anchor  " types  suggests  that  the  use  of  this  mark  may  have  been  continued 
longer  than  has  been  generally  supposed.  The  paste  of  this  porcelain 
is  sandy,  the  glaze  rich,  the  earlier  pieces  being  heavier  and  thicker  and 
apt  to  warp  in  the  firing.  Characteristic  of  this  period  are  the  so-called 
44  moons,"  a peculiarity  first  noticed  by  Dr.  Diamond ; if  viewed  by 
transmitted  light,  the  paste  will  often  be  found  to  contain  a number  of 
moon-like  discs,  irregularly  scattered  over  the  surface  and  more  trans- 
lucent than  the  remainder.  44  It  has  been  suggested,"  says  Mr.  William 
Burton  (. English  Porcelain , p.  38),  44  that  these  are  due  to  irregular  and 
excessive  aggregation  of  the  vitreous  frit  which  formed  such  a large  propor- 
tion of  the  paste.  This  is  undoubtedly  true,  but  the  reason  for  their 
existence  is  that  the  Chelsea  body  was  extremely  liable  to  go  out  of  shape, 
and  in  endeavouring  to  correct  this  fault,  the  Chelsea  potters  hit  on  the 
plan  of  keeping  some  of  the  frit  fairly  coarse,  instead  of  grinding  it  all 
to  an  impalpable  powder — a most  workmanlike  method  of  dealing  with 
such  a difficult  problem  as  the  firing  of  a glassy  porcelain." 

35 


CHELSEA  PORCELAIN 


I am  kindly  allowed  to  publish  the  two  following  chemical  analyses 
made  by  Mr.  Herbert  Eccles,  F.C.S.,  of  two  fragmentary  pieces  in  the 
Victoria  and  Albert  Museum.  The  first  (No.  C.  14 — 1920)  is  a cream- 
jug  with  raised-anchor  mark,  painted  with  flowers  in  the  Meissen  style ; 
it  is  leaf-shaped  with  stalk  handle,  somewhat  similar  to  the  Imari  piece  on 
Plate  20,  Fig.  1.  It  is  composed  as  follows  : — 


Silica 

Alumina  . 
Lime 

Phosphoric  acid 
Magnesia  . 
Lead  oxide 
Potash 
Soda 


. 6476 

600 
. 2500 

0 23 

. traces 
• 055 

258 

1 82 


10094 

The  high  percentage  of  lime  is  characteristic  of  French  soft-paste 
porcelains  of  the  period.  The  second  piece  (No.  C.  514 — 1919)  is  a plate 
with  red-anchor  mark  and  lobed  brown  rim,  decorated  with  Meissen 
flowers  in  relief  and  in  colours.  On  analysis  it  gives  : — 


Silica  . . . . . . . . 69-10 

Alumina  . . . . . . . . . 5 90 

Lime  .........  2050 

Magnesia  .........  071 

Oxide  of  iron  ........  traces 

Potash  .........  330 

Soda  .........  069 


100  20 

As  has  been  already  indicated,  the  earliest  influence  on  the  table 
wares  of  this  period  seems  to  be  that  of  the  Kakiemon  Imari.  Various 
forms  are  illustrated  on  Plates  1 and  20.  A specimen  of  the  other  family 
of  Imari  may  be  seen  on  Plate  21  ; a dish  of  identical  design  in  the  British 
Museum  bears  the  rare  mark  of  an  anchor  in  underglaze  blue.  I feel 
little  doubt  that  this  is  an  example  of  what  are  described  in  the  1756 
Catalogue  (Read,  p.  42)  as  u scollop'd  dishes,  fine  old  japan  pattern,  blue 
and  gold  ” Imari  pieces  are  marked  indifferently  with  raised  or  red 
anchor,  but  the  raised  anchor  generally  appears  on  the  imitations  of  blanc 
de  Chine , such  as  those  on  Plate  12. 

But  the  culminating  influence  of  this  period  is  that  of  Meissen.  Some 

36 


RAISED  ANCHOR  AND  RED  ANCHOR 


light  is  thrown  on  this  aspect  by  the  letter  already  mentioned,  published 
in  the  Burlington  Magazine , vol.  xx.,  p.  361,  and  originally  written  on 
June  9,  1751,  by  Sir  Charles  Hanbury  Williams  at  Dresden  to  Henry  Fox 
in  England.  Sir  Charles  writes  : — **  I received  a letter  about  ten  days 
ago  from  Sr.  Everard  Fawkner  who  is  I believe  concerned  in  the 
manufacture  of  China  at  Chelsea.  He  desired  me  to  send  over  models 
for  different  Pieces  from  hence  in  order  to  furnish  the  undertakers  with 
good  designs ; and  would  have  me  send  over  fifty  or  threescore  pounds 
worth.  But  I thought  it  better  and  cheaper  for  the  manufacturers  to 
give  them  leave  to  take  any  of  my  China  from  Holland  House  and  to  copy 
what  they  like.  I have  therefore  told  Sr.  Everard  that  if  he  will  go  to 
your  house  you  will  permit  him  and  any  body  he  brings  with  him  to  see 
my  China  and  to  take  away  such  pieces  as  they  may  have  a mind  to  copy/' 
Sir  Charles  was  acting  at  this  time  as  British  Plenipotentiary  at  Dresden, 
and  during  his  absence  from  England  Fox  was  storing  his  china  at  Holland 
House.  Among  this  already  figured  “ a set  of  china  for  a table  of  thirty 
covers,"  presented  to  Sir  Charles  in  1748  by  Augustus  III,  Elector  of 
Saxony,  and  including  a dessert  service  with  sweetmeat  dishes  in  the 
form  of  artichokes,  laurel  leaves,  sunflowers  and  double  leaves,  as  well 
as  tea  and  coffee  sets,  spoons  and  knife  and  fork  dishes.  Vegetable-shaped 
dishes  are  common  in  Meissen  porcelain  of  this  period,  and  that  they 
were  extensively  copied  at  Chelsea  is  clear  from  a glance  at  the  appendix 
to  this  book. 

We  find  a similar  borrowing  at  Bow  mentioned  in  the  notebooks  of 
John  Bowcocke,  who  worked  for  that  factory  between  1750  and  1753  and 
who  speaks  of  Japan  “ patterns  received  from  Lady  Cavendish."  It 
seems  likely  that  this  loan  of  porcelain  from  Holland  House  should  not 
be  regarded  as  the  first  hint  of  contact  between  Chelsea  and  Meissen. 
A Chelsea  figure  of  a man  in  domino  with  raised -anchor  mark,  lately 
sold  at  Christie's,  was  holding  in  its  hand  a paper  inscribed  **  Memoire 
Disabelle  1750  " (see  R.  M.  Wood  Sale  Catalogue,  May  27,  1919,  lot 
46)  ; if  this  may  be  accepted  as  authentic — and  the  misspelt  French 
inscription  speaks  strongly  in  its  favour — it  seems  to  establish  a proof 
of  Meissen  influence  already  in  that  year.  The  original  Meissen  model 
is  probably  to  be  sought  in  one  of  the  various  sets  of  figures  from  the 
Italian  commedia  delV  arte  that  were  modelled  by  Handler  and  his  pupils. 
A similar  instance  of  borrowing  at  Chelsea  is  the  “ Doctor  " of  Plate  13, 
Fig.  2,  whose  Meissen  original  was  modelled  by  Peter  Reinicke  in  1743-4 
( Festive  Publication , p.  44,  and  Fig.  83) ; this  is  presumably  the  figure 

37 


CHELSEA  PORCELAIN 


appearing  in  the  Chelsea  1755  catalogue  as  “ an  Italian  doctor  ” (see  p.  106). 
Another  raised-anchor  figure  that  owes  its  origin  to  the  German  factory 
is  the  seated  hurdy-gurdy  player  of  Plate  17  (see  C.  H.  Fischer  Sale 
Catalogue,  Cologne,  1906,  No.  710  and  Plate  xvii.). 

The  **  Winter  ” of  Plate  16  is  a piece  of  modelling  of  unusually  fine 
quality.  Such  a method  of  depicting  winter,  as  an  old  man  warming 
his  hands  over  a brasier,  is  a commonplace  of  the  sculpture  of  this  time. 
The  occurrence  in  the  1755  Catalogue  (see  p.  76)  of  “ A fine  large 
figure  representing  winter  ''  encourages  the  speculation  that  so  individual 
a model  was  intended  as  a single  work  and  did  not,  as  usually,  form  part 
of  a set  of  the  four  seasons. 

Other  figures  of  early  type  are  the  Chinese  musician  of  Plate  13, 
Fig.  1,  and  the  white  bust  of  George  III  as  Prince  of  Wales  (Plate  15), 
a position  that  became  his  in  1751.  These  may  both  be  original  pieces 
of  work,  for  the  Chelsea  chinoiseries  are  much  more  akin  in  spirit  to  France 
than  Germany.  This  may  be  studied  on  Plate  18,  which  shows  a Chelsea 
group  and  figure  together  with  the  engraving  on  which  both  are  based. 
Les  Delices  de  VEnfance  was  published  as  one  of  a set  of  six  Chinese  subjects 
engraved  after  Boucher  by  J.  J.  Balechon  and  Aveline.  It  is  interesting 
to  see  how  the  modeller  has  treated  his  engraving,  and  how  by  making 
two  subjects  out  of  one  he  has  had  to  alter  the  woman's  pose,  bringing  the 
head  and  left  part  of  the  body  more  forward.  In  other  respects  he  has 
adhered  scrupulously  to  the  details  of  the  original,  even  at  the  risk  of 
forfeiting  clarity ; certainly  without  the  aid  of  the  engraving  it  is  not 
easy  to  conceive  the  function  of  the  balustrade  upon  which  the  woman 
is  leaning,  still  less  that  of  the  curiously  linen-like  smoke  that  is  issuing 
from  the  pot.  Satisfactory  confirmation  of  the  absence  of  any  Meissen 
intervention  is  given  by  the  existence  of  a single  Meissen  group  of  three 
figures  apparently  adapted  from  the  same  engraving ; considerably  more 
freedom  is  here  taken  with  the  original,  and  there  is  evidently  not  the 
slightest  connexion  between  the  two  groups.  Reproductions  of  the 
Meissen  version  will  be  found  in  Berling,  Meissner  Porzellan , Fig.  81, 
and  in  an  exceedingly  interesting  article  by  Adolf  Briining,  entitled 
Kupferstiche  als  Vorbilder  fur  Porzellan  and  published  in  Kunst  und 
Kunsthandwerk  (1905),  vol.  viii.,  p.  37. 

The  colouring  of  the  Chelsea  group  (see  Plate  2)  is  very  similar  to 
that  of  the  early  figure  on  Plate  n ; both  show  the  same  sealing-wax  red, 
lemon-yellow  and  milky  blue,  but  the  pink  of  the  girl's  naturalistic  flowers 
is  wholly  absent  from  the  Chinese  woman,  whose  robe  is  adorned  with 

38 


RAISED  ANCHOR  AND  RED  ANCHOR 


little  starlike  flowers  of  the  pseudo- Oriental  character  of  those  on  the 
coffee-pot  of  Plate  7.  A particularly  attractive  pigment  characteristic 
of  this  period  is  the  dark  red-brown  of  the  balustrade  and  the  woman's 
scarf. 

A common  type  during  the  raised-anchor  period  are  the  figures  of 
birds,  six  of  which  are  reproduced  on  Plate  14.  The  earliest  porcelain 
birds  are  the  brilliantly  coloured  Chinese  parrots,  blue,  purple  and  green, 
of  the  reign  of  K'ang-hsi  (1662-1722).  These  were  imitated  at  Meissen, 
where  the  idea  was  soon  extended  to  include  other  varieties  of  birds. 
In  England  they  were  extensively  manufactured,  both  at  Chelsea  and 
Bow.  The  wane  of  their  popularity  during  the  red  anchor  period  is 
confirmed  by  a comparison  of  the  1755  and  1756  catalogues.  The  latter 
year  contains  no  birds  other  than  those  in  the  form  of  tureens,  except 
**  a bantam  cock  and  hen  " ; a similar  pair  with  the  red-anchor  mark  are 
in  the  Schreiber  Collection,  Catalogue  No.  219.  On  the  other  hand 
the  1755  catalogue  includes  under  different  entries  “ a fly-catcher," 
44  stooping  birds,"  “ ducks  in  different  postures,"  44  an  owl  and  two 
partridges  with  wheat,"  44  a long- tail'd  bird  and  two  blue  birds,"  and 
44  small  birds  of  two  sorts."  From  the  preponderance  of  the  raised-anchor 
mark  upon  the  birds  known  to  us,  there  seems  at  least  a possibility  that 
the  period  of  this  mark  should  be  extended  up  to  1755.  But  it  is  perhaps 
unwise  to  put  too  much  faith  in  Sprimont's  description  of  his  goods  as 
all  44  the  last  year's  production."  It  certainly  is  a matter  of  considerable 
surprise  that  so  many  44  crawfish  salts  " should  have  been  made  in  1756 
as  appear  in  the  catalogue  of  that  year,  especially  as  none  are  found  in 
1755.  Let  us  piously  hope  that  the  eventual  discovery  of  a copy  of  the 
1754  catalogue  will  set  some  of  our  doubts  at  rest.  In  the  meantime 
we  can  hardly  do  more  than  offer  a few  remarks  on  the  more  salient 
differences  observable  between  the  two  years. 

But  first  let  us  consider  the  remaining  pieces  here  illustrated  that 
bear  upon  the  period  covered  by  these  two  catalogues.  Red-anchor 
figures  are  generally  agreed  to  be  among  the  more  successful  productions 
of  the  Chelsea  factory.  The  models  are  infinitely  varied  ; even  those 
that  are  directly  borrowed  from  Meissen  originals  are  full  of  spirit  and 
individuality,  while  the  soft  paste  and  glaze  give  them  a peculiar  delicacy 
and  charm  which  we  look  for  in  vain  in  hard-paste  porcelain.  The  colour 
is  laid  on  in  flat  washes,  there  are  often  passages  of  white  to  provide  a 
contrast,  black  is  used  sparingly  and  effectively,  and  gilding  is  almost 
entirely  absent.  Typically  attractive  are  the  pair  of  figures  on  Plate  3, 

39 


CHELSEA  PORCELAIN 


which  may  be  identified  with  the  “ gardener  and  his  wife  sitting  with 
baskets  ” of  the  1755  sale  catalogue ; the  baskets  are  presumably 
intended  as  sweetmeat-trays  “ for  desert/'  Another  pair  that  figure 
frequently  in  1755  are  the  river  god  and  goddess  of  Plates  35  and 
36,  It  may  be  remarked  that  neither  pair  is  mentioned  in  the  ensuing 
year.  The  same  spirit  is  reflected  in  the  Ceres  of  Plate  37,  which 
is  perhaps  symbolical  of  summer.  The  map-seller  of  Plate  33  is 
borrowed  from  a Meissen  model  (see  Berling,  Meissner  Porzellan, 
Fig.  90  and  C.  H.  Fischer  Sale  Catalogue,  Cologne  1906,  No.  790) ; 
he  appears  in  both  catalogues,  in  the  latter  year  in  conjunction  with 
“ a Jew  with  his  box  of  toys,"  doubtless  his  companion  on  Plate  33. 
The  standing  hurdy-gurdy  man  of  Plate  32  was  originally  modelled  by 
Handler  in  1747  (see  Festive  Publication , p.  34  and  Plate  10) ; he  may 
well  be  identical  with  the  **  Savoyard  " mentioned  in  both  Chelsea 
catalogues,  which  also  speak  of  a Dutchman  or  Dutch  peasant  dancing, 
presumably  the  other  figure  on  Plate  32.  The  Pierrot  of  Plate  31  is  yet 
another  reminiscence  of  the  commedia  delV  arte , while  his  companion 
represents  a ratcatcher  or  man  with  a tame  rat.  I have  seen  a figure 
from  the  same  model,  in  which  by  the  omission  of  the  rat  the  subject 
becomes  a pedlar  holding  out  his  right  hand  to  attract  the  attention  of 
the  imaginary  client  to  whom  he  is  extolling  the  merits  of  the  wares  in 
his  box.  This  practical  illustration  of  the  way  in  which  one  model  may 
be  made  to  merge  in  another  is  further  borne  out  by  the  magnificent 
Maypole  group  of  Plate  38  ; the  figure  on  the  extreme  right  of  the  plate 
betrays  more  than  a passing  resemblance  to  the  peasant  on  Plate  32,  while 
the  head  of  the  old  man  dancing  on  the  left  is  quite  extraordinarily  close 
to  that  of  the  hurdy-gurdy  player  on  Plate  17.  This  fine  group  is  planned 
on  an  unusually  generous  scale  ; it  depicts  a lady  and  gentleman  and 
four  servants  dancing  round  a maypole,  beside  which  are  standing  the 
village  fiddler  and  an  inebriated  onlooker. 

Another  beautiful  group  is  the  Madonna  and  Child  of  Plate  39,  one 
of  the  few  religious  specimens  of  Chelsea  figure-sculpture  and  one  which 
occurs  repeatedly  in  both  catalogues  ; there  in  every  case  the  Child  is 
said  to  be  holding  a cross,  a detail  omitted  from  the  present  group.  The 
man  with  a fish-basket  perforated  to  hold  flowers,  illustrated  on  Plate 
34,  is  another  link  between  ornamental  and  useful ; he  may  possibly  be 
one  of  the  “ pair  of  fishermen  with  different  nets  ” of  1755.  Unusually 
elaborate  are  the  two  groups  of  Plates  40  and  41  ; each  has  at  the  back  a 
large  socket,  perhaps  intended  for  the  insertion  of  a metal  candlestick 

40 


RAISED  ANCHOR  AND  RED  ANCHOR 


or  an  erection  of  ormolu  mounting  and  porcelain  flowers.  The  rococo 
bases  of  this  pair  are  unusual  in  Chelsea  at  this  early  date,  and  the 
occurrence  on  one  of  a gold  anchor  in  conjunction  with  the  red  anchor 
mark  is  a warning  to  us  not  to  make  too  hard  and  fast  distinctions  between 
the  different  periods.  Another  warning  is  the  Perseus  group  of  Plate  42, 
which  appears  in,  both  catalogues  and  on  the  present  example  of  which 
gold  anchor  colouring  of  decided  type  is  combined  with  a mark  in  red. 

In  the  earlier  domestic  porcelain  of  this  period  we  find  side  by  side 
with  the  Imari  influence  a continuation  of  the  use  of  silver  models  that 
we  have  seen  to  be  characteristic  of  the  period  of  Gouyn.  The  teapot 
on  Plate  19  evidently  owes  to  a silver  original  the  leaves  embossed  round 
the  body  and  lid,  as  well  as  the  relief  modelling  of  spout  and  handle.  A 
saucer  in  the  Victoria  and  Albert  Museum  (No.  2919-1901)  has  the  same 
embossed  leaves  combined  with  a raised  anchor  mark,  which  helps  to 
confirm  the  attribution  to  an  early  date.  A silver  model  also  doubtless 
inspired  the  handsome  shell-moulding  of  the  plate  on  Plate  23,  which 
comes  from  a service  painted  with  scenes  from  ./Esop’s  Fables  by  an 
unknown  master  of  extraordinary  vigour  and  charm.  It  can  scarcely  be 
doubted  that  the  delightful  “ nonsense  ” panels  on  the  rim  of  the  big  dish 
on  Plate  24  are  the  work  of  the  same  artist  at  a later  date.  The  relief 
moulding  on  the  rim  of  this  dish  is  borrowed  from  Meissen,  which 
furnished  the  model  also  for  the  landscape  and  harbour-scene  of  Plate 
25.  References  to  these  methods  of  decoration  with  **  fables,”  **  purple 
landskips  ” and  **  landskips  wrought  and  figures  ” will  be  found  in  both 
of  the  catalogues. 

Examples  of  the  naturalistic  painting  of  flowers  and  fruit  of  this  period 
may  be  seen  on  Plates  19, 20  and  22 ; a particularly  attractive  variety  illus- 
trated on  Plate  27,  Fig.  2,  foreshadows  the  botanical  plates  of  later  years. 
Typical,  as  will  be  seen  from  the  catalogues,  are  the  leaf-shaped  trays 
for  dessert  or  as  stands  for  sauceboats  and  the  tureens  for  various  uses 
made  in  the  shape  of  almost  every  member  of  the  animal  and  vegetable 
kingdoms.  A specimen  of  the  former  appears  on  Plate  19,  and  two 
tureens,  in  the  shape  respectively  of  a rabbit  and  a bundle  of  asparagus, 
will  be  found  on  Plate  26.  The  former  is  mentioned  in  both  catalogues, 
the  latter  only  in  the  later  year.  Other  vegetable  forms  recorded  in  the 
catalogues  include  cauliflowers,  lettuces,  artichokes,  melons,  pine-apples 
and  sunflowers,  while  among  zoomorphic  tureens  occur  partridges,  double 
pigeons,  a hen  and  chickens,  a boar’s  head,  two  fighting  cocks,  a swan, 
a drake  and  a duck. 


41 


CHELSEA  PORCELAIN 


The  early  taste  for  shellwork  ornamented  in  relief  which  produced 
the  **  crawfish  salts  " finds  expression  even  at  this  date  in  such  objects 
as  the  elaborate  centrepiece  of  Plate  28.  A curious  type  of  vase,  perforated 
round  the  shoulder  to  serve  as  a perfume-pot,  is  illustrated  on  Plate  29. 
It  is  decorated  in  relief  with  a female  mask  on  either  side,  as  well  as  with 
innumerable  flowers  scattered  over  the  surface  and  a band  of  frilling 
round  the  base.  The  rather  wanton  fragility  of  such  specimens  makes 
it  easy  to  credit  that  few  have  survived  unbroken  to  the  present  day  and 
heralds  those  triumphs  of  spirit  over  material,  the  great  rococo  vases  of 
the  next  ten  years. 

The  question  of  Chelsea  u blue  and  white  " porcelain  is  one  of  great 
difficulty.  We  know  that  it  was  made  from  a variety  of  references. 
Bemrose  (p.  46)  quotes  from  an  inventory  made  in  1770  of  goods  made 
by  Sprimont,  which  were  at  that  time  at  Burnsall's.  One  item  is  “ 20 
Dozen  fine  dishes  and  plates  blue  and  white/'  as  well  as  **  6 Blue  and 
white  Caudle  Cups,  Covers  and  Saucers."  Horace  Walpole  ( Description 
of  Strawberry  Hill , 1784,  p.  12)  mentions  **  a blue  and  white  dish  of 
Chelsea  china."  And  in  the  1755  catalogue  we  read  of  **  a beautiful 
round  tureen  and  cover,  sprig  handles,  and  a dish  to  ditto  enamelled 
with  blue  flowers."  The  nature  of  these  pieces  is  not  so  easy  to  determine. 
One  particular  service  of  blue  and  white  plates,  painted  with  Chinese- 
looking  birds  in  the  middle  and  a panelled  diaper  rim,  is  marked  with 
an  anchor  in  underglaze  blue  and  can  safely  be  assigned  to  Chelsea  (see 
British  Museum,  Catalogue  No.  II  56  and  Plate  13,  Schreiber  Collection, 
Catalogue  No.  349).  These  plates  do  not,  however,  afford  a clue  for 
readily  identifying  other  pieces.  Two  specimens  of  another  family  are 
illustrated  on  Plate  30.  These  are  now  generally  ascribed  to  Chelsea 
on  the  showing  of  the  sandy  paste  ; the  scars  left  by  the  supports  used 
in  the  kiln  are  another  characteristic  of  Chelsea.  The  decoration  of 
little  blue  flowers  in  relief  is  distinctive  enough. 

The  marks  used  during  this  period  are  generally  below  the  base  of 
useful  wares,  but  in  the  case  of  figures  they  are  more  usually  somewhere 
on  the  upper  surface.  The  red  anchor  is  often  very  small  and  sometimes 
difficult  to  find  ; it  occurs  also  in  brown  and  purple.  The  mark  of  two 
red  anchors  (Plate  69)  is  unusual  and  is  found  on  one  of  the  toy  figures 
of  Plate  47.  Occasionally  the  crossed  swords  of  Meissen  are  used,  in 
underglaze  blue  or  blue  enamel,  but  this  mark  is  so  unusual  as  to  justify 
the  suggestion  (Schreiber  Collection,  Catalogue  No.  401)  that  it  signifies 
a piece  made  to  replace  a broken  member  of  a Meissen  service. 

42 


RAISED  ANCHOR  AND  RED  ANCHOR 


We  must  now  return  to  the  consideration  of  the  two  Chelsea  catalogues 
of  1755  and  1756,  always  remembering  that  it  is  unsafe  to  press  any 
argument  based  on  the  non-appearance  of  an  object  in  either  catalogue. 
A striking  feature  of  1756  is  the  suppression  of  practically  all  the  names 
of  patterns  ; such  as  remain  are  easily  identifiable,  while  the  few  novelties 
seem  all  to  be  known  gold  anchor  types.  We  have  already  referred  to 
the  disappearance  of  the  birds,  and  note  here  that  there  is  no  sign  of  any 
diminution  in  the  popularity  of  the  bird,  animal  and  vegetable  tureens. 
Practically  all  the  old  models  reappear,  and  we  find  in  addition  a swan, 
a drake  and  a duck.  In  the  domain  of  figure-sculpture  there  seems  a 
tendency  to  desert  the  older  and  simpler  forms.  Such  well-known  groups 
as  the  Boucher  Leda  and  the  so-called  **  Palissy  nurse/'  really  after  a 
sixteenth-century  original  by  Barthelemy  de  Blemont,  are  no  longer  found, 
and  their  place  is  taken  by  such  elaborate-sounding  pieces  as  u a large 
and  beautiful  lustre,  richly  ornamented  with  flowers  and  a fine  figure  of 
Fame  sounding  a trumpet ,"  **  a most  magnificent  Lustre  in  the  Chinese 
taste , beautifully  ornamented  with  flowers,  and  a large  groupe  of  Chinese 
figures  playing  on  music  " and  “ a most  grand  Lustre,  richly  chas'd  and 
gilt , decorated  with  fine  Flowers,  and  a large  groupe  of  Flora  and 
Cupids  in  the  middle  ''  (Read,  pp.  47,  34  and  54).  The  variety  of  orna- 
mental vases,  jars,  urns  and  beakers  is  greatly  increased  in  the  later 
year. 

The  single  lustre  occurring  in  1755  (p.  129)  is  presumably  similar 
to  that  known  to  have  been  purchased  by  the  Duke  of  Cumberland.  Mrs. 
Delany  {Autobiography , 1st  series,  vol.  iii.,  p.  462)  visited  the  Duke's 
Lodge  at  Windsor  in  June,  1757,  and  found  in  the  Tower  on  Shrub  Hill 
“ a lustre  of  Chelsea  china  that  cost  six  hundred  pounds,  and  is  really 
beautiful."  Mrs.  Powys  ( Passages  from  the  Diaries  of  Mrs . Philip  Lybbe 
Powys,  p.  1 14)  visited  the  Duke's  Lodge  in  1766,  after  his  death,  and 
comments  : “ In  the  principal  room  is  a chandelier  of  Chelsea  china,  the 
first  of  that  manufacture  and  cost  £500." 

The  44  exceeding  rich  blue  enamel  " of  p.  129  is  certainly  an  earlier 
reference  to  mazarine  blue  than  any  yet  published,  and  shows  that  we 
must  antedate  its  production  at  Chelsea  by  at  least  a year.  The  constant 
references  to  plates  with  gilt  edges  suggest  that  the  gold  anchor  mark 
may  have  already  come  into  use,  and  while  many  of  the  types  of  decoration 
mentioned  are  familiar  to  us  the  plates  44  with  fables  and  gilt  edges  " are 
a little  difficult  to  trace,  unless  such  specimens  as  the  dish  on  Plate  24 
are  meant.  The  perfume-pot  44  chased  and  gilt,  enamell'd  with  flowers 

43 


CHELSEA  PORCELAIN 


with  a figure  representing  Atalanta  and  her  dog/'  is  illustrated  by  No.  II 
27  of  the  British  Museum  Catalogue  (Fig.  32). 

The  figure  mentioned  on  p.  99  of  **  a man  playing  on  the  salt-box  " 
recalls  a once  popular  burlesque  instrument,  in  connexion  with  which 
it  may  be  permitted  to  quote  from  Boswell's  Life  of  Johnson  (ed.  Hill, 
vol.  i.,  p.  420).  Under  the  date  1763  he  says  : “ Bonnell  Thornton  had 
just  published  a burlesque  Ode  on  St,  Cecilia's  day , adapted  to  the  ancient 
British  musick,  viz.  the  salt-box,  the  jew’s  harp,  the  marrow-bones  and 
cleaver,  the  hum-strum  or  hurdy-gurdy,  &c.  Johnson  praised  its  humour 
and  seemed  much  diverted  with  it.  He  repeated  the  following  passage  : 

‘ In  strains  more  exalted  the  salt-box  shall  join, 

And  clattering  and  battering  and  clapping  combine  ; 

With  a rap  and  a tap  while  the  hollow  side  sounds, 

Up  and  down  leaps  the  flap,  and  with  rattling  rebounds.’  ” 

In  the  1756  catalogue  there  is  but  one  white  lot,  **  three  fine  honey- 
comb bottles."  Here  there  are  several  so  described.  We  find  at  different 
entries  a **  white  sugar  dish  with  cover,"  **  a white  pierced  plate,"  **  ditto 
baskets  and  plates,"  **  a jar  white  embossed  with  flowers  and  richly  gilt," 
“ white  vases  embossed  with  laurel-leaves." 

Read  (Appendix,  p.  3)  has  noticed  the  curious  fact  that  no  mention 
is  made  of  any  coffee-pots  in  the  1756  catalogue,  and  a similar  reticence 
is  maintained  throughout  1755.  No  reason  has  as  yet  been  assigned  to 
this  phenomenon.  It  must  be  owned  that  differentiation  between  the 
uses  of  the  various  shapes  of  table  wares  is  not  always  easy.  We  find 
teacups  in  one  place  opposed  to  **  handle  cups,"  which  suggests  that 
cups  with  handles  were  used  for  coffee  and  those  without  for  tea,  but  a 
little  later  comes  a reference  to  **  tea-cups  with  handles,"  which  plunges 
us  once  more  into  confusion.  The  use  of  the  44  round  water-cups  and 
saucers,  scolloped  edge,"  is  another  problem  ; the  type  presumably  is 
that  of  the  little  Imari  cup  and  saucer  on  Plate  21. 

The  phraseology  of  the  catalogue  is  often  highly  confusing ; the 
44  Espargne,  finely  ornamented  with  flowers,  figures,  6cc.  on  a glass  stand  " 
(p.  126)  is  explained  by  similar  entries  in  1756  which  read  looking-glass 
for  glass.  More  puzzling  is  the  task  of  differentiating  between  the  precise 
meaning  of  such  expressions  as  chased  (when  no  gilding  is  in  question), 
damask  workt,  nurl'd,  embossed  and  wrought.  We  can  only  hope  for 
the  discovery  of  a copy  of  the  1754  catalogue  which  may  help  to  give  us 
the  clue  to  some  of  the  difficulties  that  arise. 

44 


GOLD  ANCHOR 


PLATE  4. 


The  Roman  Charity,  adapted  from  an 
engraving  after  Rubens.  Gold  anchor 
mark.  H.  21  ins.  (See  page  53.) 

In  the  collection  of  Mrs.  Radford. 


Chapter  IV 


GOLD  ANCHOR 

Sprimont's  illness,  whatever  its  nature,  appears  to  have  ameliorated 
by  1758,  for  in  the  following  spring  we  find  the  annual  sales  of  the  factory 
resumed.  Sir  Everard  Fawkener  had  died  in  November,  1758,  and 
three  months  later  his  collection  was  sold  by  Ford.  The  Chelsea  factory 
sale  of  1759  was  held  not  by  Ford  but  by  Burnsall  “ At  his  Great  Auction- 
Room  in  Charles-street,  Berkly-square  ” ; it  included  **  some  matchless 
blue  and  gold  Vauses,  Perfume-pots,  large  Cabinet  two-handled  Cups 
and  Covers,  some  Potpourit  and  other  Pieces  of  the  Pea  Green  and  Gold, 
never  before  exhibited  ; some  beautiful  large  Groups,  and  single  Figures 
for  Brackets,  with  many  other  Articles  for  Table,  Tea  and  Coffee  Services  : 
The  Whole  most  delicately  enamel'd  in  Figures,  Birds,  Flowers,  6cc.” 
This  notice  dates  the  introduction  at  Chelsea  of  the  rare  pea-green  ground 
colour  ; unfortunately  no  copy  of  either  this  or  any  subsequent  sale 
catalogue  till  1770  is  known  to  exist. 

The  fifth  sale  was  held  by  Burnsall  from  April  28  to  May  2,  1760, 
and  included  **  Table  and  Tea  Services,  Variety  of  Baskets,  Leaves, 
Compotiers,  Sweetmeat  Vases  for  Deserts,  and  some  small  Figures  for 
ditto,  some  large  Brackets  and  Groups  of  Figures,  Table  Clocks,  Essence 
Vases,  Urns,  Jars,  and  Beakers,  Ewer  and  Dish,  two-handle  Cups,  with 
Covers,  <5cc.  of  the  inimitable  Mazarine  Blue,  Pea- Green  and  Gold,  finely 
painted,  with  History  Pieces,  Birds,  Festoons,  and  Groups  of  natural 
Flowers,  and  many  other  Articles  in  the  useful  and  ornamental  Way. 
There  will  be  likewise  in  this  national  Sale,  for  the  Approbation  of  the 
Connoisseur,  a few  Pieces  of  some  new  Colours  which  have  been  found 
this  year  by  Mr.  Sprimont,  the  Proprietor,  at  a very  large  Expence, 
incredible  Labour,  and  close  Application,  all  highly  finished,  and  height- 
ened with  the  Gold  peculiar  to  that  fine  and  distinguish'd  Manufactory, 
which  makes  this  Porcelain  the  most  beautiful  and  magnificent  ever  seen, 
and  cannot  be  made  at  any  Foreign  Manufactory."  These  new  colours 
have  been  reasonably  conjectured  to  be  the  pink  or  so-called  “ claret 
colour  ” and  the  turquoise-blue,  neither  having  been  previously  mentioned 
and  both  being  found  as  ground  colours  during  this  period. 

47 


CHELSEA  PORCELAIN 


Later  in  the  year  appeared  a curious  advertisement,  in  the  Public 
Advertiser  for  November  6,  reading  as  follows  : — “ The  Old  Chelsea  China 
Warehouse,  opposite  the  Black  Bear,  in  Piccadilly,  is  opened  with 
seventy-three  different  Deserts  with  Tea,  Coffee,  and  Chocolate  Equipages, 
Caudle-cups,  Clock  and  Watch-cases,  Eperne-Figures  and  Flower-pots, 
and  the  greatest  Variety  of  French  Candlesticks,  in  the  highest  Taste ; 
where  every  Thing  can  be  matched  that  was  ever  made  at  Chelsea." 
This  called  forth  an  indignant  disclaimer  from  Sprimont,  couched  in 
very  much  the  same  language  as  his  similar  paragraph  about  another 
“ Chelsea-China  Warehouse  " ten  years  before. 

The  sixth  sale,  held  in  1761  by  Burnsall  “ on  Thursday,  the  30th  of 
April  and  the  five  following  days  " included  “ the  greatest  Variety  of  Table 
and  Desert  Services,  Tea  and  Coffee  Equipages,  large  Urns,  Vases, 
Perfume  Pots,  Porringers,  Cabinet  Cups,  Basons,  a Toilet  with  a 
Looking-Glass,  and  some  Boxes  for  Ladies  Dressing  Tables,  &c.  of  the 
rare  and  inimitable  Mazarine  blue  and  gold,  and  other  very  rich  colours 
of  exquisite  Beauty  and  Magnificence.  There  will  be  likewise  some  fine 
large  Groups  and  single  Figures,  Candlesticks,  Baskets,  Leaves, 
Compotiers,  Sweetmeat  Basons  for  Deserts,  and  many  other  curious 
Articles  which  will  be  mentioned  in  the  catalogue.  The  Proprietor 
iV.  Sprimont , after  many  Years  intense  Application,  has  brought  this 
Manufactory  to  its  present  Perfection  ; but  as  his  Indisposition  will  not 
permit  him  to  carry  it  on  much  longer,  he  takes  the  Liberty  to  assure  the 
Nobility,  Gentry,  and  others,  that  next  Year  will  be  the  last  Sale  he  will 
offer  to  the  Public." 

As  a matter  of  fact,  no  sale  was  held  in  1762  at  all,  but  it  is  to  this 
year  that  belong  some  of  the  few  “ gold  anchor  " productions  that  we 
are  able  to  date  with  certainty.  An  exact  year  can  be  assigned  to  two 
large  rococo  vases  in  the  British  Museum  (Catalogue  No.  II  28  and  Plate 
8)  ; they  have  mazarine  blue  ground  with  elaborately  chased  gilding  and 
panels  in  reserve  ; on  one  side  of  each  vase  is  a scene  from  the  death  of 
Cleopatra,  on  the  other  a panel  containing  exotic  birds.  They  were  given 
to  the  Museum  on  April  15,  1763,  and  appear  in  the  donation  book  as 
**  two  very  fine  porcelain  jars  of  the  Chelsea  manufactory,  made  in  the 
year  1762,  under  the  direction  of  Mr.  Sprimont : from  a person  unknown, 
through  Mr.  Empson."  The  anonymous  donor  is  conjectured  to  have 
been  Dr.  George  Gamier,  who  is  known  to  have  presented  a somewhat 
similar  vase  at  about  the  same  time  to  the  Foundling  Hospital,  but  Sir  A. 
W.  Franks  is  clearly  in  error  in  suggesting  that  this  latter  was  originally  the 

48 


GOLD  ANCHOR 


centrepiece  to  the  British  Museum  pair.  The  Foundling  vase  is  painted 
not  with  a “ history  piece  ” but  with  a pastoral  subject  in  the  manner  of 
Boucher,  and  its  real  companion  is  known  as  the  Chesterfield  vase  from 
having  been  in  the  collection  of  Lord  Chesterfield,  The  pair  figured 
in  the  South  Kensington  Museum  Loan  Exhibition  of  1862  and  are  noticed 
in  the  catalogue  as  follows  : — 

“ No.  3566.  A large  Chelsea  vase,  dark  blue  ground,  with  two 
painted  medallions  ; on  the  front  is  a pastoral  subject  of  a girl  asleep  and 
a youth  with  a basket  of  flowers,  on  the  back  a group  of  birds,  white  and 
gold  scroll  handles,  scroll  ornament  on  the  cover.  Height,  24  in. 

“The  Earl  of  Chesterfield.” 

“ No.  3567.  The  companion  vase,  of  dark  blue  ground,  with  pastoral 
subject,  a youth  playing  on  the  bag-pipes  and  girl  listening,  a bull  and 
goat  in  the  foreground.  Height,  24  in. 

“The  Foundling  Hospital/' 

They  were  subsequently  purchased  separately  by  Lord  Dudley,  shortly 
before  August,  1869,  in  the  Art  Journal  for  which  month  (vol.  xxxi.,  p.  258) 
appears  a somewhat  cursory  description  of  them.  They  are  illustrated 
in  Solon,  Old  English  Porcelain,  Nos.  21  and  22. 

Another  date  is  preserved  for  us  by  Horace  Walpole  ( Letters , ed.  Mrs. 
Toynbee,  vol.  v.,  p.  291),  who  writes  to  Sir  Horace  Mann  on  March  4, 
1763  : — “ I saw  yesterday  a magnificent  service  of  Chelsea  China  which 
the  King  and  Queen  are  sending  to  the  Duke  of  Mecklenburgh.  There 
are  dishes  and  plates  without  number,  an  epergne,  candlesticks, 
salt-cellars,  sauce-boats,  tea  and  coffee  equipages ; in  short,  it  is 
complete  ; and  costs  twelve  hundred  pounds  ! I cannot  boast  of  our 
taste  ; the  forms  are  neither  new,  beautiful,  nor  various.  Yet  Sprimont, 
the  manufacturer,  is  a Frenchman.  It  seems  their  taste  will  not  bear 
transplanting/’  Walpole’s  failure  to  appreciate  this  triumph  of  rococo 
art,  the  Mecklenburg  service,  is  a melancholy  reminder  that  after  the 
pseudo-classicism  of  the  next  ten  years  there  was  yet  to  dawn  the  day 
of  Strawberry  Hill  and  the  Gothic  revival.  The  Duke  of  Mecklenburg- 
Strelitz  was  brother  of  Queen  Charlotte  ; some  pieces  of  his  sister’s 
present  have  since  found  their  way  back  to  England.  A pair  of  branch 
candelabra  in  the  Schreiber  Collection  (Catalogue  No.  254)  give  an  ex- 
cellent idea  of  the  decoration ; the  ground  is  mazarine-blue  covered 
with  insects  in  gilding ; on  this  are  reserved  panels  edged  with  gilded 

49  e 


CHELSEA  PORCELAIN 


scrollworks  and  painted  with  flowers  of  the  same  character  as  those  on 
Plate  53. 

Later  in  the  same  year,  1763,  was  held  the  seventh  sale.  This  took 
place  at  Burnsall's  rooms  on  **  Thursday,  March  17,  and  the  ten  following 
Days,  Sundays  excepted  " and  was  advertised  to  include  **  magnificent 
and  great  variety  of  compleat  Table  and  Dessert  Services,  Tea  and  Coffee 
Equipages,  large  and  small  Antique  Urns,  ditto  Vases,  Perfume  Pots  on 
Pedestals,  some  other  ditto,  compleat  Poringers,  large  Cabinet  Cups,  a 
Lady's  Toilet  with  a Looking  Glass  and  Gold  Instruments,  various 
Shapes  of  Boxes,  and  Essence  Bottles  for  ditto,  of  the  most  rare  and  truly 
inimitable  Mazarine  Blue  and  Gold,  Crimson  and  Gold,  and  some  Pieces 
of  very  curious  Paintings  in  Figures,  Birds,  and  Flowers,  upon  the  rich 
Gold  Ground,  and  other  colours  of  exquisite  Beauty.  There  will  be 
likewise  a large  Variety  of  handsome  Candlesticks,  large  Groups  of  Figures, 
and  single  ditto  of  all  Sizes  for  Deserts,  some  Baskets,  Leaves,  Compotiers 
round  and  oval,  and  many  other  curious  Articles  in  the  ornamental  and 
useful  Way.  . . . The  Proprietor  N.  Sprimont  takes  this  opportunity 
of  assuring  the  Nobility,  Gentry,  and  others,  that  this  will  positively  be 
his  last  Sale ; being  unfortunately  obliged  on  account  of  his  Lameness 
to  decline  carrying  on  the  same  in  a short  Time  after.  He  likewise  will 
dispose  of  at  his  Manufactory  at  Chelsea,  every  Thing  in  general  belonging 
to  it,  with  all  the  Variety  of  unfinished  Porcelaine,  and  all  Materials,  his 
valuable  and  extensive  Variety  of  fine  Models,  all  the  Moulds,  Mills, 
Kilns,  Presses,  Sec,,  together  with  all  the  Outbuildings ; and  as  he  will 
retire  farther  into  the  Country,  all  his  Household  Furniture  will  be  sold 
at  the  same  Time." 

How  much  truth  there  is  in  Mason's  assertion  that  little  business 
was  done  after  1763  it  is  impossible  to  say.  In  March,  1764,  we  find 
Christie  advertising  **  a magnificent  and  extensive  Table  or  Desert  Service 
of  the  rare  and  curious  Mazareen  Blue  and  Gold,  the  same  as  the  Royal 
Pattern  which  was  sold  for  1150  Pounds.  This  service  is  declared  to  be 
the  last  that  will  be  made  of  that  Pattern."  However,  it  does  seem 
probable  that  about  this  year  a reaction  from  the  elaborate  “ gold  anchor  " 
style  set  in.  The  figures  of  Wilkes  and  Conway  (Schreiber  Collection, 
Catalogue  Nos.  200-1  and  Plate  21)  may  be  assigned  to  the  year  1764,  and 
though  they  still  show  rococo  scrollwork  bases  the  colouring  already 
anticipates  the  soft  tones  of  the  Derby-Chelsea  period.  The  dignified 
Lord  Camden  of  Plate  61  belongs  probably  to  1765,  the  year  of  his  elevation 
to  the  Woolsack,  while  the  well-known  Lord  Chatham  (Schreiber  Collection, 

50 


GOLD  ANCHOR 


Catalogue  No.  202  and  Plate  27)  cannot  be  earlier  than  1766.  Various 
advertisements  quoted  by  Read  testify  to  continued  manufacture  as  late 
as  1768,  in  which  year  u Jones,  on  the  Terras  in  St.  James's-street,"  a 
dealer  of  the  time,  offers  Chelsea  porcelain  44  even  still  brought  from  that 
noble  Manufactory/' 

Finally  in  1769  Burnsall  advertises  the  eighth  sale,  to  be  held  44  on 
Wednesday,  the  17th  May,  and  the  following  days,  by  order  of  Mr.  Nicholas 
Sprimont,  the  Proprietor  of  the  Chelsea  Porcelain  Manufactory,  he  having 
entirely  left  off  making  the  same,  All  the  curious  and  truly  matchless  pieces 
of  that  valuable  manufactory ; consisting  of  beautiful  vases,  antique 
urns,  perfume  pots,  table  and  dessert  services,  tea  and  coffee  equipages, 
compotiers,  leaves,  &c.,  beautiful  candlesticks  of  different  shapes  ; variety 
of  figures,  very  large  and  curious  groups  ; particularly  two  groups  of  the 
Roman  Charity,  toilet-boxes  of  various  forms  and  sizes  and  many  other 
articles,  most  highly  finished  in  the  mazarine  blue,  crimson,  pea-green 
and  gold,  finely  painted  in  figures,  birds,  fruit  and  flowers,  enriched  with 
gold  and  curiously  chased.  . . . Likewise  will  be  sold  all  the  fine  models, 
mills,  kilns,  presses,  buildings,  and  all  other  articles  belonging  to  this 
most  distinguished  manufactory." 

In  August,  1769,  Sprimont  finally  sold  the  factory  to  James  Cox, 
who,  in  his  turn,  sold  it  to  William  Duesbury  and  John  Heath  of  Derby 
in  February,  1770.  In  between  these  dates  Francis  Thomas  the  foreman 
embezzled  a quantity  of  porcelain  made  by  Sprimont,  which  should 
apparently  have  gone  with  the  rest  of  the  factory.  The  death  of  Thomas 
in  1770  was  followed  by  a great  deal  of  tedious  litigation  between  Duesbury 
and  Heath  on  the  one  hand  and  Burnsall  the  auctioneer,  Thomas's  executor, 
on  the  other.  The  details  of  this  case  may  be  found  at  length  in  Bemrose, 
who  preserves  (p.  45)  an  inventory  of  the  porcelain  in  question,  which 
is  an  interesting  record  of  the  production  before  1769. 

The  last  sale  of  Sprimont 's  porcelain  was  held  by  Christie  and  lasted 
from  Wednesday,  February  14,  1770,  till  the  following  Saturday.  The 
catalogue  is  published  by  Nightingale,  and  is  very  similar  in  matter  to 
Burnsall's  announcement  of  1769,  including  two  groups  of  the  Roman 
Charity.  In  June,  1771,  Sprimont  died. 

The  porcelain  of  the  gold  anchor  period  is  differentiated  from  that  of 
the  red  anchor  period  by  the  use  of  bone-ash,  an  ingredient  already 
adopted  at  Bow  in  1748.  Mr.  Eccles’  analysis  of  a plate  in  the  Victoria 
and  Albert  Museum  (No.  Catalogue  411-1919)  gives  the  following 
result : — 


5i 


CHELSEA  PORCELAIN 


Silica  .........  4552 

Alumina  .........  1206 

Lime  .........  2600 

Phosphoric  acid  .......  14  27 

Soda  .........  073 

Potash  .........  093 


9951 

This  table  shows  a total  percentage  of  bone-ash  of  about  40.  The 
plate  in  question  bears  the  gold  anchor  mark  and  is  decorated  with  exotic 
birds  ; the  rim  has  foliage  moulded  in  relief  and  picked  out  with  grey-blue 
and  gold.  The  paste  of  this  porcelain  is  still  sandy,  but  the  technical 
difficulties  have  largely  been  overcome  and  in  consequence  there  are  no 
more  “ moons/'  The  glaze  is  very  thick  and  collects  in  pools  where 
it  finds  an  opportunity ; it  is  often  cracked  or  crazed  all  over,  with  the 
result,  in  the  commoner  pieces,  of  absorbing  dirt  and  being  pitted  with 
brown  stains.  The  decoration  becomes  more  and  more  elaborate, 
increasing  use  being  made  of  gilding,  which  is  often  chased,  as  in  the 
manner  of  Sevres.  Mr.  William  Burton  says  {English  Porcelain , p.  46)  : — 
“ The  Bow  gilding  and  the  early  Chelsea  gilding  were  applied  in  the 
Chinese  manner.  Leaf  gold  was  ground  up  in  honey  and  then  applied 
in  this  state  to  the  ware,  and  fired  until  it  sank  into  the  glaze.  Gilding 
done  in  this  way  has  a somewhat  dull  look,  and  cannot  be  brightened 
by  burnishing.  The  rich  Chelsea  gold  was  undoubtedly  applied  in  the 
modern  way ; an  amalgam  of  gold  and  mercury  was  first  made,  and  this 
was  then  ground  finely  with  a small  amount  of  a fusible  glass  or  flux.  In 
this  way  the  gold  could  be  worked  on  as  thickly  as  necessary,  and  at  a 
fairly  easy  fire  the  flux  melted,  securely  fastening  the  gold  to  the  glaze ; 
the  gold  could  then  be  burnished  and  chased  so  as  to  display  its  utmost 
brilliance.  Technically,  this  late  Chelsea  gilding  leaves  nothing  to  be 
desired." 

That  the  figure-modelling  of  this  period  is  even  finer  than  ever  appears 
most  strikingly  from  the  u Pieta  ” on  Plate  64.  This  exceptional  group 
is  made  in  one  piece  with  its  stand,  but  while  the  latter  is  mazarine-blue 
and  richly  gilded  with  religious  symbols,  the  group  itself  is  left  plain 
white  and  enables  its  splendid  plastic  quality  to  be  appreciated  in  a way 
that  is  less  easy  when  the  modelling  has  been  obscured  by  the  sumptuous 
painting  and  gilding  characteristic  of  this  time.  The  model  bears  several 
close  similarities  to  the  painting  by  Rubens  in  the  Prado  and  was  probably 
adapted  from  an  engraving  after  this  original. 

52 


GOLD  ANCHOR 


The  superb  series  of  Apollo  and  the  Muses  are  amongst  the  most 
magnificent  productions  of  this  period,  and  the  set  from  which  the  two 
examples  on  Plate  62  are  taken  has  the  distinction  of  being  the  only  com- 
plete set  in  existence.  The  figure  of  Una  or  Britannia  of  Plate  63  seems  to 
have  been  the  largest  ever  made  at  Chelsea ; see  on  this  subject  Nightin- 
gale, p.  82.  On  Plate  4 appears  the  “ Roman  Charity  ” group,  referred  to 
in  the  sales  of  1769-70.  This  curious  instance  of  filial  piety,  originally 
preserved  by  Valerius  Maximus  and  Plutarch  and  later  embellished  with 
the  names  of  Cimon  and  Pera,  was  a favourite  subject  with  artists  of  the 
seventeenth  century  under  the  general  heading  of  Caritas  Romana . The 
present  group  seems  to  be  certainly  based  on  an  engraving  after  Rubens, 
the  relative  position  of  the  feet  being  altered  in  order  to  preserve  the 
balance.  The  elaborate  diaper  patterns  of  the  girl's  robe  are  typical 
of  this  period  of  decoration.  There  seems  no  reason  to  regard  these 
as  other  than  highly  original  productions ; we  know  nothing  that  corre- 
sponds to  them  in  the  work  of  other  factories.  The  influence  of  Meissen 
is  for  the  most  part  discredited  at  this  time.  An  exception  are  the  little 
Cupids  of  Plate  59,  the  “ love  in  disguise  ” of  the  1755  catalogue.  Handler 
and  his  pupils  excelled  in  the  invention  of  disguises  for  their  little  loves, 
and  the  bagpiper  controlling  with  his  foot  the  actions  of  a pair  of 
marionettes  is  typical  of  Handler's  satiric  attitude  towards  courtship  and 
marriage  ; an  illustration  of  the  original  Meissen  model  appears  in  the 
C.  H.  Fischer  Sale  Catalogue,  Cologne  1906,  No.  604  and  Plate  8.  The 
pair  of  mythological  figures  on  Plate  60  may  possibly  represent  Spring 
and  Autumn  from  a set  of  the  four  Seasons. 

A common  feature  of  this  period  is  the  framing,  as  it  were,  of  a figure 
or  group  within  a so-called  bocage  or  bosky  grove  of  leaves  and  flowers. 
One  of  the  more  sumptuous  instances  of  this  type  is  the  well-known 
44  Music  Lesson  " group  (Schreiber  Collection,  Catalogue  No.  192  and 
Plate  24),  adapted  from  an  engraving  after  Boucher's  Uagreable  Legon . 
It  is  interesting  to  compare  the  contemporary  version  made  at  Frankenthal 
(see  Hofmann,  Frankenthaler  Porzellan,  vol.  i.,  plate  35,  and  Kunst  nnd 
Kunsthandwerk,  vol.  viii.,  p.  39)  ; in  each  case  Boucher's  rustic  shepherd 
and  shepherdess  have  been  turned  into  a pair  of  elegantly  dressed  young 
people  masquerading  as  pastoral  figures,  and  as  there  can  be  no  question 
of  any  borrowing  as  between  Chelsea  and  Frankenthal,  this  point  is  worth 
noting  as  an  indication  of  the  already  wide  dissemination  of  the  philosophy 
generally  associated  with  Marie  Antoinette  and  the  Trianons.  A less 
elaborate  example  of  the  bocage  will  be  found  in  the  little  figures  on  Plate 

53 


CHELSEA  PORCELAIN 


59  ; they  also  illustrate  the  combination  of  ornament  and  use  in  the  nozzles 
for  candles  with  which  they  are  fitted. 

A triumph  of  this  combination  may  be  seen  in  the  magnificent  clock 
shown  in  the  Frontispiece,  here  reproduced  by  gracious  permission  of  His 
Majesty  the  King.  The  essential  spirit  of  the  rococo  is  here  seen  at  its 
gayest  and  happiest ; the  grouping  of  the  little  figures  and  the  arrangement 
of  the  tree  are  singularly  skilful,  while  the  restless  vivacity  of  the  scrollwork 
base  and  the  solitary  gilded  wing  protruding  from  one  side  of  the  clock-face 
testify  to  the  horror  of  classical  symmetry  that  forms  one  of  the  more 
attractive  features  of  this  enchanting  type  of  ornament.  This  clock  is 
one  of  a pair ; it  was  exhibited  by  H.M.  Queen  Victoria  at  the  South 
Kensington  Museum  1862  Loan  Exhibition  ; see  Catalogue  No.  3,563. 
It  is  worth  recording  that  two  similar  clocks  were  sold  at  the  sale  of  Queen 
Charlotte's  china  in  1819. 

Chief  among  the  masterpieces  of  this  period  are  the  set  of  seven 
vases,  of  which  three  are  illustrated  on  Plates  57  and  58.  They  are  said 
to  have  been  originally  made  for  presentation  by  George  III  to  Lady 
Liverpool ; subsequently  they  passed  into  the  possession  of  Lord  Dudley, 
from  which  circumstance  they  are  generally  known  as  the  44  Dudley  Vases." 
The  ground  is  claret- colour,  richly  gilded  ; on  each  are  reserved  two 
panels,  one  containing  a mythological  subject,  the  other  a panel  of 
naturalistic  birds  in  the  style  of  Hondekoeter.  The  painting  is  beautifully 
finished  and  the  modelling  a perfect  expression  of  rococo  feeling  ; small 
reproductions  of  the  whole  set  will  be  found  in  Frederick  Litchfield, 
Pottery  and  Porcelain . 

No  feature  of  eighteenth-century  art  is  perhaps  more  alluring  than 
the  consideration  of  cultural  exchanges  between  Europe  and  the  East, 
resulting  over  here  in  the  creation  of  an  entirely  new  and  delightful  world, 
generally  known  as  the  chinoiserie . Its  history  has  yet  to  be  thoroughly 
written,  but  as  regards  its  connection  with  Chelsea  it  is  worth  noting  that 
while  in  the  red  anchor  period  and  earlier  we  find  chinoiserie  figures  and 
groups,  they  vanish  under  the  gold  anchor  regime  and  we  find  Chinese 
subjects  painted  on  table  and  ornamental  wares,  a new  departure.  Plate 
51  shows  three  pieces  from  the  supremely  beautiful  tea-service  bequeathed 
to  the  Victoria  and  Albert  Museum  by  Miss  Emily  Thomson,  of  Dover ; 
here  the  subjects  are  reserved  in  panels  on  a ground  of  claret- colour  with 
rich  gilding.  Similar  no  doubt  was  the  44  very  curious  and  matchless  tea 
and  coffee  equipage,  crimson  and  gold,  most  inimitably  enamell'd  in  figures, 
from  the  designs  of  Watteau ,''  that  was  sold  at  Christie's  in  1770.  In 

54 


GOLD  ANCHOR 


the  three  vases  of  Chinese  form  on  Plate  54  the  decoration  is  painted 
directly  on  the  white  ground.  u Chinese  figures  " are  among  the  fresh 
patterns  mentioned  in  the  1756  catalogue. 

The  familiar  Chinese  beaker  shape  is  seen  in  the  vase  on  Plate  53, 
the  elaborate  flower- painting  on  which  appears  also  on  the  covered  bowl  on 
the  same  Plate,  as  well  as  on  the  44  Mecklenburg  service  of  1763/'  The 
influence  of  Sevres  is  seen  in  the  shapes  of  the  vases  on  Plates  54,  55  and  56. 
The  first  named  shows  bird-painting  of  exotic  style,  the  last  a pretty  type 
of  painting  in  crimson  monochrome  or  camaieu.  This  type  is  derived  from 
Sevres,  where  it  originated  in  imitating  the  little  Cupids  of  Boucher ; we 
find  it  at  Chelsea  as  early  as  1756,  where  it  must  surely  be  the  pattern 
referred  to  as  44  small  Cupids/'  The  division  of  the  vase  on  Plate  55  into 
two  zones  of  decoration  of  different  kinds  is  typical  of  Sevres,  and  a 
development  may  be  seen  in  the  border  of  the  cups  and  saucers  on  Plate 
50.  The  so-called  trembleu.se  saucer  of  Plate  49,  with  a socket  to  prevent 
the  cup  from  slipping,  is  another  Sevres  type.  Examples  of  the  bird, 
flower  and  fruit-painting  of  this  period  are  shown  on  Plates  49  and  51. 
The  candlestick  on  Plate  23  is  the  embodiment  of  rococo  moulding  at 
its  simplest  and  most  dignified  ; it  was  exhibited  by  Lord  Bessborough 
at  the  South  Kensington  Museum,  1862  Loan  Exhibition,  Catalogue 
No.  3,608. 

The  scale-pattern  of  the  plate  reproduced  on  Plate  50  seems  not  to 
be  taken  from  Sevres,  but  to  be  one  of  the  comparatively  rare  instances 
of  Meissen  influence  so  late  (see  R.  L.  Hobson,  Worcester  Porcelain , p. 
89)  ; it  is  presumably  the  same  that  appears  in  the  1756  catalogue  as 
“ oxes  eye."  The  same  catalogue  refers  twice  to  “ green  landscapes," 
which  clearly  alludes  to  the  method  of  decoration  of  a cup  and  saucer 
on  Plate  49.  They  belong  to  a well-known  class  with  decoration  in  black 
outline  washed  over  with  green.  A similar  treatment  of  Watteau 
scenes  was  in  use  at  Meissen  as  early  as  1738  ; it  appears  on  a service 
that  formed  part  of  the  dowry  of  Maria  Walburga  of  Saxony  on  her 
marriage  in  that  year  to  Charles  III  of  Naples  ; some  of  the  pieces  are 
now  in  the  Museo  Arqueologico,  Madrid.  Meissen  influence  is  further 
seen  in  the  handsome  cup  on  Plate  51,  Fig.  1,  painted  with  birds  in 
colours  on  a gold  ground  ; this  type  of  decoration  seems  to  be  first 
mentioned  at  Chelsea  in  the  advertisement  for  the  sale  of  1763,  where 
it  is  described  as  follows  : — 44  some  Pieces  of  very  curious  Paintings  in 
Figures,  Birds  and  Flowers,  upon  the  rich  gold  ground."  Its  companion 
is  a specimen  of  rich  gilding  on  mazarine-blue  ground. 

55 


CHELSEA  PORCELAIN 


The  bowl  on  Plate  52  is  interesting  by  reason  of  the  views  with  which 
it  is  painted.  One  of  these  has  not  yet  been  identified ; the  other  appears 
to  represent  Chelsea  Old  Church,  immediately  to  the  west  of  which  was 
the  site  of  the  pottery.  Faulkner,  History  of  Chelsea , 1829,  vol.  i*>  P*  273, 
says  : — 44  The  Chelsea  China  Manufactory  was  situated  at  the  corner  of 
Justice  Walk,  and  occupied  the  houses  to  the  upper  end  of  Lawrence- 
Street.  . . . The  whole  of  the  premises  are  now  pulled  down,  and  new 
houses  erected  on  the  site.”  Since  Faulkner's  day  the  question  of  the 
actual  site  has  been  exhaustively  gone  into  by  Bemrose,  p.  20,  who  gives 
the  available  evidence  on  the  subject. 

It  will  be  convenient  to  consider  at  this  point  the  numerous  small 
objects  depicted  on  Plates  43  to  48.  Some  of  the  most  exquisite 
workmanship  of  the  factory  is  to  be  found  in  these  tiny  pieces.  The 
scent-bottles,  seals  and  needle-cases  are  frequently  adorned  with 
inscriptions  in  French,  which  is  often  misspelt,  betraying  the  hand  of 
an  uneducated  workman ; these  are  generally  love-mottoes  of  little 
originality,  and  a typical  selection  will  be  found  in  the  letterpress  opposite 
the  plates  in  the  present  volume.  It  was  Franks  {Archaeological  Journal , 
vol.  xix.,  p.  346)  who  first  quoted  the  following  announcement  from  the 
Public  Advertiser  of  November  23,  1754  : — 

**  By  Order  of  the  Proprietors  of  the  Chelsea  Porcelain  Manufactory. 

“ To  be  Sold  by  Auction 
“By  Mr.  Ford, 

44  At  his  great  Room  in  St.  James'  Haymarket  on  Monday  the  16th 
December  and  the  following  Days. 

“ All  the  entire  Stock  of  Porcelain  Toys,  brought  from  their  Ware- 
house in  Pall-Mall ; consisting  of  Snuff-Boxes,  Smelling  Bottles,  Etwees 
and  Trinkets  for  Watches  (mounted  in  gold  and  unmounted)  in  various 
beautiful  Shapes,  of  an  elegant  Design,  and  curiously  painted  in  Enamel. 

“ Nothing  of  the  above  kind  was  in  their  former  Sale,  nor  will  any 
Thing  of  the  same  Sort  as  in  this  be  sold  from  the  Manufactory  till  after 
next  year. 

“ A large  Parcel  of  Porcelain  Hafts  for  Table  and  Dessert  Knives 
and  Forks.” 

It  is  generally  considered  that  this  sale  represents  the  first  appearance 
on  the  market  of  these  Chelsea  toys,  whose  manufacture  continued 
throughout  the  history  of  the  factory.  The  original  inspiration  for  most 
of  them  should  probably  be  sought  at  Meissen,  although  patch-boxes 
in  particular  were  extensively  made  at  the  French  soft  paste  factories. 

56 


GOLD  ANCHOR 


The  seals,  or  **  trinkets  for  watches/'  of  Plate  47  are  all  of  early  type, 
and  we  have  already  seen  that  one  of  them  has  furnished  the  means  of 
identifying  as  pieces  of  early  Chelsea  the  figures  on  Plate  11.  The  patch- 
boxes,  snuff-boxes,  bonbonnieres  or  etuis  (etwees)  of  Plates  46  and  48,  are 
early  too  and  show  no  gilding,  with  the  exception  of  the  box  representing 
Venus  blindfolding  Cupid,  which  is  fully  gold  anchor  in  colouring.  A 
rare  example  is  the  Janus-headed  scent-bottle  of  Plate  46,  Fig.  1.  The 
other  scent-bottles  are  of  all  varieties  and  dates,  ranging  from  the  delicate 
colouring  of  the  early  friar  and  nun  to  the  elaborately  gilded  examples 
with  mazarine  blue  ground.  The  inspiration  for  the  satiric  representa- 
tion of  a monk  carrying  off  a woman  together  with  other  provender  for 
the  monastery  is  certainly  derived  from  Meissen  ; see  C.  H.  Fischer 
Sale  Catalogue,  Cologne  1906,  No.  889  and  Plate  17.  The  needle-cases 
are  late  in  character,  with  the  exception  of  that  with  the  storks,  which 
is  ungilded  and  early.  The  toy  figures  of  Plate  47  are  of  varying  dates 
but  all  of  exceptionally  fine  quality. 

The  question  of  the  Chelsea  modellers  is  one  as  to  which  it  is  difficult 
to  reach  any  satisfactory  conclusion.  It  has  been  the  custom  to  ascribe 
to  the  sculptor  Louis- Francis  Roubiliac  the  finer  gold  anchor  models, 
such  as  the  u Music  Lesson  ''  and  the  set  of  Apollo  and  the  Muses  on 
Plate  62,  on  the  evidence  of  their  being  frequently  marked  with  an  incised 
R.  Roubiliac  died  in  1762,  and  it  seems  hardly  credible  that  at  the  height 
of  his  fame  he  would  take  the  trouble  to  model  porcelain  figures  after 
Boucher  engravings.  If  he  had  wanted  to  model  porcelain  figures  at 
all,  we  may  be  sure  that  he  would  have  left  original  work  and  not  adapta- 
tions in  the  round  of  another  man's  painting.  If  we  agree  that  the 
**  Music  Lesson  " is  unlikely  to  be  his  work,  then  the  whole  theory  of 
his  having  worked  at  Chelsea  must  go,  for  the  only  argument  is  the  R mark, 
which  is  found  on  that  group.  There  is  no  record  in  any  biography  of 
Roubiliac  of  his  having  modelled  porcelain  figures,  and  there  is  no 
tradition  to  that  effect  in  the  annals  of  the  Chelsea  factory  ; even  John 
Thomas  Smith  never  mentions  the  rumour.  The  culprit  appears  to 
be  Church,  who  in  1885  announces  simultaneously  in  his  English  Porcelain , 
p.  27,  and  in  Lady  Charlotte  Schreiber's  Catalogue,  No.  192,  that  the 
**  Music  Lesson  " is  marked  with  an  R,  standing  for  the  modeller  Roubiliac. 
It  may  be  added  that  one  of  the  toy  figures  on  Plate  47  is  equally  marked 
with  an  R ; in  the  same  way  its  companion  bears  a B.  These  letters 
very  likely  stand  for  the  initials  of  the  modeller,  but  that  modeller  was 
not  Roubiliac.  The  rumours  that  Bacon  and  Nollekens  modelled  for 

57 


CHELSEA  PORCELAIN 


the  factory  are  equally  nebulous.  It  may  be  remarked  that  Lot  1,759  of 
the  Duke  of  Hamilton's  sale  at  Christie’s,  July,  1882,  is  described  as 
follows  : — “ A Chelsea  figure  of  a man  in  fancy  dress  inscribed  4 George 
Holmes  did  this  figer,  1765.’  ” It  would  be  interesting  to  see  this 
documentary  piece,  but  George  Holmes  may  very  probably  have  been 
the  man  who  put  the  component  parts  of  the  figure  together  rather  than 
the  artist  who  actually  made  the  model. 

Among  the  few  dated  pieces  known  that  belong  to  this  period  must 
be  mentioned  the  scent-bottle  in  the  British  Museum,  Catalogue  No.  II 
105  and  Plate  15.  It  represents  Cupid  writing  a letter  inscribed  “ To  : 
1759  This  is  ” and  is  painted  in  the  gold-anchor  style. 

The  question  of  Chelsea  painters  is  no  less  baffling  than  that  of  the 
modellers.  We  know  that  artists  from  Chelsea  migrated  to  Worcester 
and  were  working  there  in  1768,  and  Mr.  Hobson  ( Worcester  Porcelain, 
p.  1 19)  is  of  opinion  that  there  had  been  a steady  movement  from  Chelsea 
to  Worcester  at  any  rate  since  1763  and  possibly  five  years  earlier.  Mr. 
Hobson  (loc.  cit.  pp.  91, 117)  works  out  the  characteristics  of  two  individual 
artists,  one  a fruit-painter  whose  activities  can  be  traced  at  Meissen, 
Chelsea  and  Worcester,  the  other  a bird-painter  who  started  at  Chelsea 
and  went  on  through  Longton  Hall,  Bow,  Worcester  and  Bristol. 
Unfortunately  we  cannot  put  names  to  either  of  them.  Equally  unsettled 
at  present  is  the  question  as  to  whether  John  Donaldson,  the  Worcester 
figure-painter,  ever  worked  at  Chelsea.  The  other  Worcester  painter, 
O’Neale,  is  definitely  stated  by  Nightingale  (p.  lxxvii)  to  have  worked  for 
Duesbury  at  Chelsea  between  1770  and  1773,  but  this  seems  to  rest  on 
the  somewhat  hazardous  identification  of  the  Worcester  O'Neale  with 
“ Mr.  O’Neil,  a painter  ” of  the  Chelsea  bills  for  those  years  quoted  by 
Jewitt,  vol.  i.,  p.  182.  It  has  been  suggested  that  O’Neale  was  the  anony- 
mous master  of  the  Chelsea  AZsop  paintings,  but  they  are  at  least  fifteen 
years  earlier  in  date  than  any  signed  work  of  his. 


58 


DERBY-CHELSEA  AND  LATER 


PLATE  5. 


Jason  and  Medea  before  the  altar  of 
Diana.  Mark,  N 37,  incised.  H.  12J 
ins.  (See  page  64.) 

In  the  collection  of  Mr.  F.  E.  Sidney. 


Chapter  V 


DERBY-CHELSEA  AND  LATER 

William  Duesbury,  who  bought  the  Chelsea  factory  from  James 
Cox  in  1770,  was  born  in  1725  and  died  in  1786.  Bemrose  (p.  7)  gives 
an  account  of  a work-book  of  Duesbury 's  that  had  come  into  his  possession  ; 
this  book  was  kept  by  Duesbury  between  1751  and  1753,  when  he  was 
working  in  London  as  an  enameller  on  china.  An  idea  of  the  extent  of 
the  work  done  by  these  **  outside  enamellers  ” may  be  gained  from  the 
statement  that  between  May  14  and  31,  1751,  Duesbury  enamelled  no 
less  than  382  single  objects,  so  that,  as  Bemrose  says,  he  “ must  have 
been  a considerable  employer  of  labour  at  that  early  date/'  Among 
the  list  of  goods  enamelled  by  Duesbury  at  this  early  date  are  figures  from 
Chelsea,  Bow,  Derby  and  Staffordshire.  We  know  that  the  Bow  factory 
was  founded  in  1744,  while  the  Staffordshire  figures  are  presumably  those 
made  at  the  porcelain  factory  carried  on  at  Longton  Hall  by  William  Littler 
from  about  1752  to  1758.  The  Derby  figures  are  more  problematical. 

A tradition,  quoted  by  Jewitt,  vol.  ii.,  p.  63,  states  that  the  first  maker 
of  porcelain  at  Derby  was  a Frenchman  who  modelled  and  made  small 
articles,  chiefly  animals,  cats,  dogs,  lambs  and  sheep.  Jewitt  identifies 
this  individual  with  Andrew  Planche,  a French  refugee,  who  is  known 
to  have  entered  into  an  agreement  with  Duesbury  and  Heath  in  1756, 
and  who  after  that  disappears  from  sight.  It  is  possible  that  Planche's 
animals  are  the  Derby  figures  in  question. 

Another  solution  ascribes  them  to  the  Cockpit  Hill  Works,  Derby, 
an  extensive  pottery  which  is  known  to  have  made  porcelain  at  some 
time,  as  in  1780  on  the  failure  of  this  enterprise  44  a large  quantity  of 
earthen  and  china  ware  from  the  Pot  Works  on  Cock-pit  Hill,  in  Derby, 
being  the  stock-in-trade  of  Messrs.  John  and  Christopher  Heath,  of 
Derby,  bankrupts,"  was  advertised  for  sale.  John  Heath  was  the  same 
who  joined  Duesbury  and  Planche  in  1756,  and  it  is  possible  that  Derby 
porcelain  originated  in  experiments  by  Heath  about  1750,  and  that  when 
Duesbury  came  in  1756  the  manufacture  of  porcelain  was  moved  to  Derby 
and  the  Cockpit  Hill  works  continued  to  produce  common  earthenware. 

A white  cream-jug  in  the  Victoria  and  Albert  Museum  (No.  C. 

61 


CHELSEA  PORCELAIN 


629 — 1920),  to  which  it  was  presented  by  Mr.  E.  F.  Broderip,  is  generally 
considered  as  an  example  of  the  earliest  Derby  porcelain  ; a similar  piece 
is  in  the  British  Museum.  The  paste  is  sandy,  the  glaze  very  white  ; the 
handle  is  in  the  form  of  a twig  and  round  the  foot  are  strawberries  in  relief 
(see  p.  22) ; under  the  base  is  the  mark  u D.  1750,”  incised  before  firing. 

At  some  period  between  1753  and  1755  Duesbury  returned  to  his 
home  at  Longton,  and  it  is  generally  believed  that  he  had  some  connexion 
at  this  time  with  Littler's  porcelain  factory  at  Longton  Hall.  In  any 
case,  in  1756  we  find  him  at  Derby,  as  the  agreement  between  Duesbury, 
Planche  and  Heath  is  dated  January  1 of  that  year. 

Nightingale  quotes  an  advertisement  in  the  Public  Advertiser  for 
December  14,  1756,  which  reads  as  follows  : — 

“ To  be  Sold  by  Auction, 

By  Mr.  Bellamy, 

By  order  of  the  Proprietors  of  the  Derby  Porcelain  Manufactory, 
at  a commodious  House  in  Prince's-Street,  Cavendish  Square, 
This  and  the  three  following  Days. 

A Curious  Collection  of  fine  Figures , Jars , Sauceboats , Services  for  Deserts , 
and  great  Variety  of  other  useful  and  ornamental  Porcelain,  after  the 
finest  Dresden  models,  all  exquisitely  painted  in  Enamel,  with  Flowers, 
Insects,  India  Plants,  &c.  . . . '* 

It  seems  on  the  whole  probable  that  this  production  is  the  output 
of  Duesbury's  factory.  Nightingale  somewhat  perversely  regards  the 
Duesbury-Planche-Heath  agreement  as  referring  to  Longton  Hall  and 
not  to  Derby  at  all,  in  which  case  this  becomes  the  advertisement  of 
an  unknown  firm.  He  goes  on  to  quote  eulogistic  articles  from  the  1757 
press  regarding  Derby  figures,  which  are  said  to  be  indistinguishable 
from  the  real  Dresden. 

It  is  likely  that  about  1758-9  Duesbury  and  Heath  bought  up  the 
Longton  Hall  works,  and  certainly  by  1763  they  were  doing  very  success- 
fully at  Derby.  At  one  time  during  this  year  no  less  than  forty-two  large 
boxes  of  Derby  porcelain  appear  to  have  been  sent  to  London.  Jewitt 
gives  a list  of  some  items,  from  which  it  is  worth  while  to  select  a few  :■ — 
“ Large  Britanias,  Second-sized  Huzzars,  Large  Pidgeons,  Small  Rabbets, 
Large  Quarters  [of  the  Globe],  Shakespeares,  Miltons,  Jupiters,  Junos, 
Ledas,  Europa,  Enammelled,  round,  fourth-size,  open-worked  Baskets, 
Blue  ditto/' 

It  is  clear  that  the  factory  was  producing  work  of  importance,  especially 

62 


DERBY-CHELSEA  AND  LATER 


in  the  realm  of  figure-sculpture,  and  it  is  a little  horrifying  to  think  that 
we  have  not  as  yet  succeeded  in  identifying  with  certainty  a single  figure 
made  at  Derby  before  the  union  with  Chelsea  in  1770.  When  the  day 
comes  that  we  do  succeed  in  this  task,  it  is  likely  that  we  shall  see  some 
drastic  changes  of  attribution. 

The  porcelain  made  after  the  amalgamation  of  the  factories  is  very 
similar  in  texture  to  gold-anchor  Chelsea.  Owing  to  the  fact  that  Dues- 
bury  was  always  making  modifications  and  experiments,  it  is  not  possible  to 
distinguish  pieces  made  at  Chelsea  from  those  made  at  Derby  on  technical 
grounds.  In  spirit,  however,  it  is  profoundly  different.  The  publication 
in  1766-7  of  D'Hancarville's  catalogue  of  Sir  William  Hamilton's  collection 
had  a magical  effect  on  English  domestic  art.  The  rococo  spirit  was 
banished  at  once  as  if  it  had  never  been,  and  everything  becomes  infected 
with  the  virus  of  the  Classical  Revival.  The  shapes  of  the  vases  are 
adapted  from  classical  originals  after  the  manner  of  Wedgwood,  the 
figure-sculpture  loses  its  lively  character  and  becomes  sentimental,  the 
colouring  is  pale  and  thin. 

The  sale  catalogues  of  the  years  from  1771  onward  have  been  published 
in  detail  by  Nightingale  and  are  interesting  reading.  Two  innovations 
that  appear  at  once  are  the  introductions  respectively  of  lacework  and 
biscuit.  The  former  originated  at  Meissen  about  this  time,  and  although 
technically  ingenious  is  without  much  artistic  merit.  The  latter  is  the 
most  interesting  contribution  from  Derby,  and  it  is  a pity  that  it  is  not 
possible  to  find  out  more  accurately  for  how  long  it  had  been  in  use  at  that 
place.  Biscuit  porcelain  is  the  technical  but  anomalous  name  for  porcelain 
fired  without  a glaze.  The  lack  of  glaze  imparts  a clearness  to  the  lines  of 
the  modelling,  which  can  be  most  effective.  This  method  of  treating  porce- 
lain originated  at  Sevres  during  the  seventeen-fifties,  and  suited  very  well 
the  soft  paste  both  of  Sevres  and  Derby.  It  is  less  happily  matched  at 
Meissen,  where  it  was  introduced  in  the  'seventies,  nor  is  the  later  hard 
paste  of  Sevres  so  pleasing  a medium  as  the  earlier  body. 

A fine  example  is  illustrated  on  Plate  68.  This  model  is  adapted 
from  a portrait  group  painted  by  Zoffany  in  1770  ; it  first  appears  as  one 
of  a set  of  three  mentioned  in  a catalogue  of  principal  additions  made 
to  Duesbury's  London  warehouse  in  1773  or  1774  (see  Bemrose,  p.  54). 
It  is  thus  described  “ Their  present  majesties  the  king  and  queen, 
and  royal  family,  in  3 grouped  pieces  in  biscuit — the  center  piece  represents 
the  king  in  a Vandyke  dress,  on  a blue  and  gold  bassement,  supported 
by  four  lions,  leaning  on  an  altar  richly  ornamented  in  blue  and  gold, 

63 


CHELSEA  PORCELAIN 


with  hanging  trophies  of  the  polite  arts  and  sciences.  The  crown,  munde 
and  scepter  reposing  on  a cushion  of  crimson,  embroidered,  fringed, 
and  tasselled  in  gold/' 

The  group,  on  Plate  5,  of  Diana  is  typical  of  the  soft  colouring  in 
vogue  at  this  time.  It  seems  to  be  first  mentioned  in  the  sale  catalogue  of 
1773,  where  it  appears  as  44  a large  group,  Jason  and  Medea  vowing  before 
the  altar  of  Diana,  enamelled  and  richly  finished  with  gold."  The  formal 
sobriety  of  treatment  is  essentially  in  the  spirit  of  this  age,  and  it  is 
interesting  to  contrast  this  group  with  the  Perseus  model  of  nearly  twenty 
years  earlier  which  is  illustrated  on  Plate  42. 

The  decoration  on  the  useful  wares  of  this  period  is  marked  by 
restraint  and  symmetry.  At  its  best,  as  in  the  few  examples  reproduced 
on  Plates  65  and  66,  it  is  extremely  pleasing,  and  its  unobtrusive  quality 
renders  it  ideal  for  domestic  purposes.  A fine  blue  enamel  appears  in 
place  of  the  warm  mazarine  blue,  which  is  more  rarely  found  ; this  blue 
enamel  is  used  with  effect  on  the  pedestal  of  the  figure  of  George  III  on 
Plate  68.  The  plate  reproduced  on  Plate  66  is  a rare  piece,  and  was  probably 
made  to  replace  one  from  an  Oriental  service  which  had  got  broken. 

The  mark  most  generally  in  use  at  this  period  was  a combination  of 
an  anchor  with  D (for  Derby  or  Duesbury)  in  gold  ; it  is  illustrated  on 
Plate  69.  It  is  impossible  in  most  cases  to  distinguish  the  pieces  made 
at  Derby  from  those  made  at  Chelsea,  but  it  is  usually  considered  that 
specimens  marked  with  D or  D and  a crown  may  be  ascribed  to  Derby 
and  those  of  Derby- Chelsea  style  with  the  gold  anchor  to  Chelsea.  The 
cup  and  saucer  on  Plate  65  belong  to  the  latter  class ; they  have  the  gold- 
anchor  mark  but  the  style  of  decoration  is  full  Louis  Seize.  It  is  possible 
indeed  that  that  manner  was  introduced  at  Chelsea  before  the  close  of 
the  gold -anchor  period  ; it  certainly  started  at  Sevres  many  years  before 
the  death  of  Louis  XV  in  1774,  and  the  inner  border  of  the  bowl  on  Plate 
52  has  a decidedly  classical  flavour.  An  unusual  mark  is  the  anchor  and 
D of  the  sugar-basin  on  Plate  67  ; this  mark  seems  to  have  been  exclusively 
on  pieces  of  that  particular  service.  A cursive  N,  incised,  is  also  found, 
either  alone  or  in  conjunction  with  other  marks ; its  significance  is 
unknown.  Figures  seldom  bear  the  D and  anchor  mark.  A specimen 
of  the  George  III  figure  so  marked  is,  however,  mentioned  by  Nightingale, 
p.  53.  They  frequently  have  the  number  of  the  model  incised  in  the 
paste,  after  the  fashion  of  44  No.  217  " and  B figured  on  Plate  69 ; so 
the  Jason  group  is  marked  44  N 37."  Haslem  (p.  171)  gives  a list  of  a 
quantity  of  the  models ; on  this  No.  37  is  given  as  44  Jason  and  Medea," 

64 


DERBY-CHELSEA  AND  LATER 


together  with  the  information  that  it  was  made  in  three  sizes,  the 
height  of  the  second  being  12I  inches,  as  in  the  example  illustrated 
on  Plate  5.  Bemrose  (p.  69)  gives  another  list,  in  which  No.  37  appears 
as  “ Large  group,  Jason  and  Midia." 

Two  of  the  more  important  specimens  of  Derby-Chelsea  are  in  the 
Schreiber  Collection,  Catalogue  Nos.  438  and  465,  Plates  46  and  48. 
The  former  is  a punch-bowl,  painted  with  coopers  at  work  and  the  arms 
of  the  Coopers'  Company  of  London.  It  is  dated  1779  and  has  the  gold- 
anchor  mark ; it  may  therefore  be  taken  as  having  been  made  at  Chelsea, 
and  it  is  interesting  to  compare  it  with  Chelsea  painting  of  the  earlier 
period.  The  other  is  a jug,  of  which  several  specimens  are  known.  It 
was  made  to  commemorate  Lord  Rodney's  victory  in  the  West  Indies  in 
1782  and  bears  the  head  of  that  admiral  in  relief  below  the  lip  after  a 
fashion  borrowed  from  Meissen.  The  mark  is  D under  a crown  in  purple, 
and  it  seems  to  have  been  certainly  made  at  Derby.  It  is  noticeable 
that  the  Derby  blue  enamel  appears  alike  on  the  Chelsea  piece. 

A series  of  bills  kept  at  Chelsea  between  1770  and  1773  are  reprinted 
in  part  by  Jewitt  (vol.  i.,  p.  180,  and  vol.  ii.,  p.  71)  and  are  of  interest  as 
showing  the  kind  of  work  turned  out ; constant  references  occur  to  the 
various  forms  of  “ toys,"  which  evidently  continued  to  be  an  important 
part  of  the  production.  Duesbury  seems  soon  to  have  rid  himself  of 
Heath,  his  partner,  who  went  bankrupt  in  1780.  In  1776  he  purchased 
the  factory  at  Bow,  and  as  no  reference  occurs  to  Heath  in  the  documents 
relating  to  this  transaction  it  seems  reasonable  to  suppose  that  he  had 
already  left  the  firm.  In  1773  Duesbury  leased  a London  warehouse  in 
Bedford  Street,  Covent  Garden,  and  in  1776  this  was  visited  by  Queen 
Charlotte.  An  illustrious  visitor  to  the  factory  at  Derby  was  Dr.  Johnson, 
who  went  over  it  in  1777  and  wrote  next  day  characteristically  to  Mrs. 
Thrale  : — “ The  finer  pieces  are  so  dear  that  perhaps  silver  vessels  of  the 
same  capacity  may  be  sometimes  bought  at  the  same  price  ; and  I am 
not  yet  so  infected  with  the  contagion  of  china-fancy  as  to  like  anything 
at  that  rate  which  can  so  easily  be  broken  " (see  Boswell,  Life  of  Johnson , 
ed.  Hill,  vol.  iii.,  p.  163).  In  1784  Duesbury  pulled  down  the  factory 
at  Chelsea  and  removed  the  models,  moulds,  some  of  the  kilns  and  other 
useful  objects  to  Derby. 

The  appreciation  of  the  old  Chelsea  porcelain  has  been  continuous. 
It  was  treasured  in  the  cabinets  of  Walpole  at  Strawberry  Hill  and  Beck- 
ford  at  Fonthill  quite  as  fondly,  if  less  scientifically,  than  in  the  collections 
of  the  present  day.  The  serious  historical  study  of  the  subject  begins 

65  F 


CHELSEA  PORCELAIN 


with  the  publication  of  Franks'  article  on  the  44  goat  and  bee  ''  jugs  in 
1862*  Previously  these  jugs  had  been  considered  as  Bow,  and  the  general 
level  of  ceramic  knowledge  had  been  much  on  a level  with  that  displayed 
in  Smith's  Life  of  Nollekens.  Smith  as  a writer  is  wholly  delightful,  but 
like  most  gossips,  especially  if  they  happen  to  be  malicious,  his  standard 
of  accuracy  is  not  high.  In  the  present  instance  he  receives  the  treatment 
that  he  deserves  at  the  hands  of  W.  F.  Tiffin  in  his  Chronograph  of  Bow , 
Chelsea  and  Derby , published  in  1874.  The  collections  of  Sir  A.  W. 
Franks  and  Lady  Charlotte  Schreiber  laid  the  foundations  of  those  now 
in  the  national  museums. 

The  results  of  excavation  have  added  little  to  our  knov/ledge  of  the 
factory.  In  1843  some  excavations  in  Cheyne  Row  West  discovered  a 
quantity  of  fragments,  but  no  details  seem  to  have  been  published. 


66 


APPENDIX 

SALE  CATALOGUE  OF  1755 


A 

CATALOGUE 

Of  the  last  Year's  large  and  valuable  Production 

of  the 

CHELSEA  PORCELAIN 
MANUFACTORY, 
consisting  of 

Elegant  Epargnes,  a most  magnificent 
Lustre,  Services  of  Table  Dishes, 

Plates  and  Tureens,  new  and  beautiful 
Groupes  of  Figures,  6cc.  compleat  Tea 
Equipages,  Services  for  Desarts,  Sets 
of  Jars  and  Beakers,  and  great  Variety 
of  other  useful  and  ornamental  Pieces 
of  new  and  curious  Designs,  highly 
finished  with  Flowers,  Landskips, 

Figures,  Birds,  Insects,  India  Plants, 

Sec.,  painted  in  ENAMEL. 

Which  will  be  sold  by  Auction, 

By  Mr.  FORD, 

At  his  Great  Room  in  the  Haymarket, 

On  Monday  the  ioth  of  March  and  the  Fifteen 
following  Days,  Sundays  excepted. 

The  WHOLE  may  be  viewed  on  Thursday  the  6th  and  every 
Day  till  the  Time  of  Sale,  which  will  begin  each  Day 
punctually  at  12  o’clock. 


CATALOGUES  to  be  had  at  Mr.  Ford's,  Price  One  Shilling, 
which  Money  will  be  allowed  to  those  that  are  Purchasers. 

69 


APPENDIX 


CONDITIONS  OF  SALE 

i st,  The  highest  Bidder  is  to  be  the  Buyer  ; and  if  any  Dispute  shall 

arise  between  any  two  or  more  Bidders,  the  Lot  so  disputed  shall 
be  put  up  again. 

2dly,  No  Person  to  advance  less  than  6d.  and  above  a Pound  is.  above 
Five  Pounds  2s.  6d.  and  so  on  in  Proportion. 

3dly,  The  Purchasers  are  to  give  in  their  Names  and  Places  of  Abode,  and 
positively  to  pay  down  Five  Shillings  in  the  Pound  in  Part  of  Pay- 
ment of  the  Purchase  Money  ; in  Default  of  which,  the  Lot  or  Lots 
so  purchased,  to  be  immediately  put  up  again,  and  resold. 

4thly,  The  Lots  shall  be  taken  away  with  all  Faults,  at  the  Buyer’s  Expence, 
within  two  Days  after  the  Sale,  and 

5thly,  To  prevent  the  Inconveniences  that  too  frequently  attend  long  and 
Open  Accounts,  the  Remainder  of  the  Purchase  Money  to  be  abso- 
lutely Paid  on  or  before  the  Delivery. 

Lastly,  Upon  Failure  of  complying  with  the  above  conditions,  the  Money 
so  deposited  in  Part  of  Payment,  shall  be  forfeited  ; the  Lots 
uncleared  within  two  Days  aforesaid,  shall  be  resold,  by  public  or 
private  Sale,  and  the  Deficiency  (if  any)  together  with  the  charges 
attending  such  Re-Sale,  shall  be  made  good  by  the  Defaulters  at 
this  Sale, 

N.B.  The  Lots  are  all  supposed  sound,  but  if  known  to  be  otherwise,  it 
will  be  declared  at  the  Time  of  Sale. 


70 


SALE  CATALOGUE  OF  1755 


First  Day’s  Sale,  Monday,  March  10,  1755 

1 Eight  octagon  tea  cups  and  saucers  painted  in  flowers,  and  a 
tea  pot  OF  THE  OLD  PATTERN 

2 Two  birds  called  fly-catchers,  2 stooping  birds,  and  2 fine 
pomatum  pots  for  a toilet 

3 Two  scollopt  compotiers  wheatsheaf  and  pheasant  pattern, 
with  borders  ; 4 less  ditto  with  flowers,  and  2 vine  leaves 

4 Two  small  round  porringers  and  covers,  enamell'd  with  flowers, 
gilt  edges 

5 Three  small  figures  of  the  Italian  theatre,  and  2 fine  lemons  for 
a toilet 

6 Two  quart,  2 pint  and  2 half-pint  mugs,  enamell'd  with  flowers 

7 One  dish  second  size,  4 ditto  third  size,  scollopt  and  finely 
enamell'd  with  India  plants 

8 Ten  fine  table  plates,  same  pattern 

9 Two  small  sauce  boats  and  plates,  enamell'd  with  flowers,  and 
green  sprig  handles 

10  Six  round  water  cups  and  saucers,  enamell'd  with  flowers 

11  Two  fine  partridges,  for  desart 

12  Two  ditto 

13  Two  fine  dishes  to  ditto,  ornamented  with  corn,  &c. 

14  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea  cups 
and  saucers,  8 coffee  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer  and  a bread  and  butter  plate,  all  enamell'd 
with  flowers 

15  A BEAUTIFUL  LARGE  GROUPE  OF  THREE  CUPIDS,  WITH  A MASK,  &C. 

16  Two  fine  basons  with  covers  and  plates,  enamell'd  with  flowers 

17  Four  small  cabbage  leaves  two  fine  old  old  leaves  and  two 
scollopt  compotiers,  withgreen  leaves,  for  a desart 

18  Twelve  desart  plates,  scollopt  and  finely  enamell'd  with  flowers 

19  Six  tea  cups  and  saucers,  6 handled  cups  and  a cream  ewer, 
scollopt,  enamell'd  with  flowers 

20  Four  fine  small  figures  of  the  seasons 

21  Two  small  fig  leaves  and  2 cabbage  lettices,  for  a desart 

22  Two  curious  large  ice  pails,  enamell'd  with  flowers 

23  A beautiful  tureen,  in  the  shape  of  a double  pigeon,  in  a fine 
basket  workt  dish 

24  Two  large  sauce  boats  and  plates,  silver  shaped,  enamell'd  with 
flowers 

25  Two  small  ditto 


7i 


APPENDIX 


26  Eight  tea  cups  and  saucers,  8 chocolate  cups  and  saucers  and 
a cream  ewer,  scollopt,  enamell'd  with  flowers 

27  Four  figures  of  the  sciences,  and  2 fine  lemons,  for  a toilet 

28  Two  quart,  2 pint  and  2 half-pint  mugs,  with  birds 

29  Two  large  porringers  and  covers,  scollopt  edges,  with  insects 

30  An  oval  dish  third  size,  2 ditto  fourth  size,  and  2 round  ditto 

fifth  size,  fine  wrought  pattern,  with  flowers  and  brown  edges 

31  Two  fine  silver  shaped  sauce  boats  and  plates,  enamell'd  with 

flowers 

32  Two  small  ditto  and  plates 

33  A large  scollopt  compotier,  green  leaves,  2 small  cabbage  leaves, 
2 silver  shaped  dishes  in  purple,  and  four  ditto  in  flowers,  for  desart 

34  Two  small  fig  leaves  and  2 cabbage  lettices,  for  desart 

35  Twelve  table  knives  and  forks  3 prong'd,  mounted  with  silver, 
in  a shagreen  case 

36  Eight  large  tea  cups  and  saucers,  8 large  handled  cups,  a plate 
and  a cream  ewer,  scollopt  with  flowers  and  green  leaves 

37  A CURIOUS  FIGURE  OF  A WOMAN,  HOLDING  A PERFUME  POT 

38  Two  fine  large  cabbage  leaves  and  2 fine  large  melons,  for  desart 

39  One  dish  third  size,  2 ditto  fourth  size,  2 ditto  fifth  size,  oval, 
scollopt  and  enamell'd  with  flowers 

40  Twelve  table  plates,  to  ditto 

41  Two  large  sauce  boats  and  plates,  enamell'd  with  flowers 

42  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea  cups 
and  saucers,  8 handled  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer,  and  a bread  and  butter  plate,  all  neatl 
enamell'd  with  flowers 

43  Six  beautiful  small  figures,  love  in  diisguise,  for  desart 

44  Two  fine  large  basons  with  covers  and  plates,  enamell'd  with 
birds  and  sprig  handles 

45  Two  small  ditto,  same  pattern 

46  A compleat  service  for  a desart,  consisting  of  a large  cabbage 
leaf  and  bason,  2 vine  leav'd  dishes,  2 double  leav'd  dishes,  and  4 small 
sunflower  leaves 

47  Two  fine  artichoaks,  second  size 

48  Four  fine  apples  and  4 leaves,  for  desart 

49  Six  fine  water  cups  and  saucers,  scollopt  edges,  enamell'd  with 
flowers 

50  A most  beautiful  tureen  in  the  shape  of  a HEN  AND  CHICKENS, 
big  as  the  life,  in  a curious  dish  adorn'd  with  sunflowers 

51  Two  fine  large  sauce  boats  and  plates,  enamell'd  with  flowers 

72 


SALE  CATALOGUE  OF  1755 


52  Two  fine  partridges  for  desart 

53  A pair  of  exceeding  fine  toilet  candlesticks  with  birds  and 
flowers 

54  Six  large  tea  cups  and  saucers,  six  large  handled  cups,  a plate 
and  a cream  ewer  scollop'd  and  enamell'd  in  flowers 

55  Four  octagon  sallad  dishes  fine  old  partridge  pattern  with 
borders 

56  One  oval  dish  3d  size,  three  ditto  4th  size,  with  India  plants 

57  Twelve  desart  plates  ditto 

58  Two  exceeding  fine  figures  of  a gardener  and  his  wife  sitting 
with  baskets 

59  Three  small  figures  of  the  Italian  theatre,  and  two  fine  pomatum 
pots  for  a toilet 

60  Two  fine  basket  work'd  dishes  ornamented  with  leaves,  and 
and  two  vine  leaf  ditto  enamelled  with  flowers  for  desart 

61  Four  small  roses,  and  four  leaves  to  ditto  for  desart 

62  A compleat  tea  and  coffee  equipage,  consisting  of  8 small 
tea  cups  and  saucers,  8 large  handled  cups,  a tea  pot  and  stand,  a slop 
bason,  a cream  ewer,  a plate  and  a spoon  boat  scollop'd,  enamell'd  with 
flowers  and  green  leaves 

63  Two  fine  porringers  and  covers,  round  edges  enamell'd  with 
insects 

64  A beautiful  groupe  of  figures  of  a man  and  woman  dancing 

65  Four  very  fine  ducks  in  different  postures 

66  One  oval  Dish  first  size,  2 ditto  second  size,  and  2 ditto  4th 
size,  fine  pattern,  enamell'd  with  landskips  wrought  and  figures 

67  Twelve  table  plates  to  ditto 

68  Two  large  silver  shaped  sauce  boats  and  plates  enamell'd  with 
flowers 

69  Eight  tea  cups  and  saucers,  octagon  in  flowers,  and  a tea  pot 
old  pattern 

70  A fine  large  bowl,  enamell'd  with  flowers,  faulty 

71  One  oval  scollop'd  compotier,  2 large  scollop'd  ditto,  2 heart- 
shaped  ditto,  and  4 nurl’d,  all  fine  old  pattern  for  desart 

72  Two  fine  partridges  for  desart 

73  A figure  of  a nurse  and  child,  one  ditto  of  the  arts,  one  ditto 
of  the  seasons,  and  two  fine  lemons  for  a toilet 

74  Two  fine  EELS  as  big  as  the  life,  and  2 fine  dishes  for  ditto 

75  Four  small  figures  of  cupids  ornamented  for  desart 

76  One  large  oval  dish  1st  size,  2 ditto  3d  size,  2 ditto  4th  size, 
and  4 round  5th  size,  wrought  pattern,  enamell'd  in  fables,  and  gilt  edges 

73 


APPENDIX 


77  Twelve  octagon  soup  plates  Hob  in  the  well 

78  A compleat  tea  and  coffee  equipage  consisting  of  8 tea  cups 
and  saucers,  8 handled  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer,  and  a bread  and  butter  plate,  all  round, 
enamelPd  with  flowers 

79  Two  large  round  porringers  and  covers  enamelPd  in  flowers 

80  Eight  fine  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  and  a cream  ewer,  nurl'd 

81  Two  small  ice  pails  fine  wrought  pattern  enamelPd  with  flowers 

82  Three  small  figures  of  the  arts  and  one  of  the  seasons,  and  two 
fine  pomatum  pots 

83  One  dish  first  size,  2 ditto  5th  size  round,  and  4 ditto  5th  size 
oval,  all  scollop'd  enamelPd  with  flowers 

84  A fine  round  tureen  and  dish  scollop'd  edges  with  purple  flowers 
and  sprig  handles 

85  An  oval  pierced  dish  in  purple  landskip,  2 scollop'd  compotiers 
in  landskip,  2 scollop'd  ditto,  wheatsheaf  and  fox,  and  4 scollop'd  gold 
flowers  for  desart 

86  Six  small  tea  cups  and  saucers,  a tea  pot  and  stand,  and  a sugar 
dish  octagon,  old  sprig  pattern  with  borders 

87  One  quart  and  3 half  pint  mugs  in  flowers,  one  pint  mug 
with  birds  and  one  silver  shape  cup  and  cover  with  two  handles  and 
flowers 

88  One  large  scollop'd  compotier,  and  4 heartshaped  ditto  fine 
OLD  PATTERN 

89  Two  beautiful  figures  of  a shepherd  and  shepherdess 

90  Two  exceeding  fine  carps,  and  2 fine  dishes  to  ditto 

91  Six  tea  cups  and  saucers,  octagon  and  flowers,  a tea  pot  fine 
OLD  PATTERN 

92  Two  large  scollop'd  compotiers  old  pattern,  and  six  roses  for 

DESART 

93  Four  small  figures  of  cupids  ornamented,  for  desert 

94  Two  fine  small  porringers  in  flowers  and  gilt  edges 

95  A most  beautiful  coffee  and  tea  equipage,  consisting  of  8 tea 
cups  and  saucers,  8 handled  cups  and  saucers,  tea  pot  and  stand,  a slop 
bason,  a sugar  bason,  a cream  ewer,  and  a bread  and  butter  plate  fine  old 

STRAWBERRY  PATTERN 

96  Four  fine  deep  vine  leaf  dishes  enamelled  with  flowers  for 
DESART 

97  Four  very  fine  large  sunflowers  leaves  for  ditto 

98  Four  bustos  of  heathen  gods  and  goddesses  for  desart,  and  2 
lemons  for  a toilet 


74 


SALE  CATALOGUE  OF  1755 


99  Seven  large  tea  cups  and  saucers  with  handles,  seven  large 
handle  cups,  seven  small  chocolate  cups  and  saucers,  and  a cream  ewer 
scollop'd  enamelled  with  flowers 

100  Two  nurl'd  bowls  old  pattern,  and  two  ten  square  ditto  in 
flowers 


Second  Day's  Sale , Tuesday,  March  ii 

1 A Nurse  and  child,  2 small  figures  of  the  Italian  theatre,  and  2 
fine  pomatum  pots 

2 A double  leaved  dish,  2 large  sun-flower  leaves,  2 small  cabbage 
leaves,  and  4 heart-shaped  compotiers,  fine  old  pattern,  for  a desart 

3 Eight  large  chocolate  cups  and  saucers,  a cream  ewer,  and  a large 
caudle  cup  and  saucer  nurl'd  with  flowers 

4 Four  ten  square  basons,  of  two  sorts,  old  japan  pattern 

5 Three  figures  of  Italian  theatre,  and  2 fine  pomatum  pots 

6 Six  tea-cups  and  saucers,  octagon  in  flowers,  and  a tea-pot  fine 
OLD  PATTERN 

7 Two  fine  porringers  and  covers,  with  flowers  and  gilt  edges 

8 Two  oval  dishes,  and  4 less  ditto,  fine  silver  shaped  enamelled 
with  flowers 

9 Twelve  table  plates  to  ditto 

10  Two  small  sauce-boats  and  plates,  with  green  handles  enamelled 
with  flowers 

11  A fine  small  oval  tureen  and  cover,  with  sprig  handles,  and  a 
dish  to  ditto  enamelled  with  flowers 

12  Twelve  octagon  damasked  soup-plates,  enamelled  in  flowers 

13  Eight  tea-cups  and  saucers,  8 handled  cups,  a tea  pot  and  stand, 
a slop  bason,  a sugar-dish,  and  a cream  ewer,  octagon  enamelled  with 
flowers 

14  Four  small  figures  of  Cupids  ornamented  for  desart,  and  2 
fine  pomatum  pots,  enamelled  in  flowers 

15  One  dish  second  size,  2 ditto  third  size,  2 ditto  fourth  size, 
and  four  ditto  fifth  size,  oval  scollopt  fine  old  pattern 

16  Twelve  table  plates  to  ditto 

17  Twelve  soup-plates  to  ditto 

18  Two  small  fine  cabbage-leaves,  and  4 rabbits,  for  desart 

19  A double  leaf  dish,  2 heart-shaped  compotiers,  2 small  cabbage 
leaves,  and  4 small  fig-leaves  for  desert 

20  Two  quart,  2 pint,  and  2 half-pint  mugs  with  flowers 

21  Two  very  fine  patridges  for  desart 

22  Three  fine  figures,  of  a fidler,  a Savoyard,  and  a man  dancing 

75 


APPENDIX 


23  Two  small  porringers  enamelled  with  flowers  and  gilt  edges 

24  Twelve  fine  large  chocolate  cups  and  saucers  and  a cream  ewer, 
all  nurl'd  enamelled  with  flowers 

25  Twelve  octagon  tea- cups  and  saucers  enamelled  in  flowers, 
and  a tea-pot  fine  old  pattern 

26  Two  fine  large  basons  with  covers  and  plates,  sprig  handles 
enamelled  in  flowers 

27  A beautiful  groupe  of  figures,  Pantaloon  and  Columbine 

28  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea- cups 
and  saucers,  8 coffee-cups  and  saucers,  a tea-pot  and  stand,  a slop-bason, 
a sugar-bason,  a cream-ewer,  and  a plate,  all  finely  enamelled  in  flowers 

29  Two  oval  dishes  fourth  size,  and  4 ditto  fifth  size  scollopt, 
enamelled  in  flowers 

30  Two  large  sauce-boats  and  plates,  green  handles 

31  Six  round  water- cups  and  saucers  enamelled  with  flowers 

32  Three  figures  of  the  Italian  theatre,  and  2 fine  lemons  for  a 
toilet 

33  Two  large  ice  pails,  finely  chased  and  enamelled  in  flowers 

34  Eight  small  tea-cups  and  saucers,  six  chocolate  cups  and  saucers, 
a tea-pot  and  stand,  a slop  bason,  a sugar-bason,  a cream-ewer  and  a plate, 
nurl'd,  old  flower  pattern 

35  A fine  leaf  with  a handle,  2 small  cabbage-leaves,  2 scollopt 
compotiers  with  green  leaves,  and  4 nurl'd  compotiers  old  pattern 

36  Twelve  very  fine  desart  plates,  India  plants,  all  different 

37  Two  artichoaks  first  size  for  desart 

38  A compleat  tea  and  coffee  equipage  nurl'd,  finely  enamelled  with 
landskips,  figures,  &c. 

39  A fine  large  figure  representing  winter 

40  A set  of  mugs,  consisting  of  2 quarts,  2 pints,  and  two  half  pints, 
enamelled  strawberry  pattern 

41  Two  small  fig-leaves,  and  two  fine  cabbage  lettices,  for  desart 

42  Two  small  fig-leaves,  and  two  roses  for  ditto 

43  Two  very  fine  carps  and  2 dishes  for  ditto 

44  Two  scollopt  dishes  fourth  size,  2 ditto  fifth  size,  and  2 ditto 
sixth  size,  of  the  rare  old  japan  pattern 

45  Fourteen  fine  octagon  soup-plates  damasked,  of  the  pheasant 
pattern 

46  Two  small  sauce-boats  and  plates,  silver-shaped,  enamelled  in 
flowers 

47  Six  large  tea-cups  and  saucers,  6 large  handled  cups,  and  a 
cream- ewer,  scollopt,  enamelled  with  flowers 

76 


SALE  CATALOGUE  OF  1755 


48  Two  curious  china  toilet  candlesticks  with  birds,  &c. 

49  Two  fine  large  cabbage-leaves,  and  2 fine  large  melons 

50  Four  small  figures  of  love  in  disguise,  for  desart,  and  2 small 
lemons  for  a toilet 

51  Twelve  fine  desart  plates  scollopt,  enamelled  with  flowers 

52  One  scollopt  dish  first  size,  4 ditto  second  size,  enamelled  with 
leaves  and  insects 

53  Eight  octagon  tea- cups  and  saucers,  with  handles,  in  flowers, 
and  a tea  pot  in  landskip 

54  Eight  octagon  cups  and  saucers  in  flowers,  and  a tea  pot  old 
PATTERN 

55  Four  fine  small  ducks  in  different  postures 

56  Two  porringers  and  covers  enamelled  with  flowers  and  gilt 
edges 

57  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea  cups 
and  saucers,  8 handle  cups  and  saucers,  a tea-pot  and  stand,  a slop-bason, 
a sugar  bason,  a cream  ewer  and  a plate,  all  finely  enamelled  with  flowers 

58  Twelve  desart  knives  and  12  forks  three  prong'd,  mounted  with 
silver,  in  a shagreen  case 

59  Four  small  figures  of  the  seasons  for  desart 

60  An  oval  dish  third  size,  2 ditto  fourth  size,  and  2 round  ditto 
fifth  size,  wrought  pattern  enamelled  with  flowers 

61  Two  small  silver-shaped  sauce  boats  and  plates  enamelled  in 
flowers 

62  A fine  small  round  tureen  and  cover,  sprig  handles,  and  a dish 
to  ditto  enamelled  with  flowers 

63  Seven  round  water-cups  and  saucers  of  the  fine  old  strawberry 
pattern 

64  A set  of  2 quart,  2 pint,  and  2 half-pint  mugs,  enamelled  with 
different  sorts  of  birds 

65  A large  scollopt  compotier  with  green  leaves,  2 small  cabbage 
leaves,  and  4 small  silver-shaped  dishes  in  flowers  for  desart 

66  Two  fine  large  cabbage  leaves  and  two  basons 

67  Two  fine  figures  of  the  river  god  and  goddess 

68  Twelve  octagon  tea-cups  and  saucers,  a tea-pot,  a slop-bason, 
a sugar-bason,  and  a cream  ewer,  of  the  fine  red  pannel  pattern 

69  A most  beautiful  tureen,  in  the  figure  of  a HEN  and  CHICKENS 
in  a dish  finely  ornamented 

70  Four  fine  small  cabbage  leaves  for  desart 

71  Two  large  scollopt  compotiers  old  pattern,  and  6 roses,  for 
desart 


77 


APPENDIX 


72  Two  fine  pine-apples  for  desart 

73  A most  beautiful  perfume  pot,  in  the  form  of  a pigeon-house, 
with  pigeons,  a fox,  &c. 

74  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea-cups 
and  saucers,  8 handle  cups  and  saucers,  a tea-pot  and  stand,  a slop-bason, 
a sugar-bason,  a cream  ewer  and  a plate,  enamelled  with  flowers 

75  Two  very  fine  partridges,  and  a dish  for  ditto,  finely  ornamented 

76  Two  ditto 

77  Two  small  basons  and  covers  with  sprig  handles,  and  2 plates 
enamelled  in  flowers 

78  Two  small  china  flower-pots  for  desart,  2 pomatum  pots  for  a 
toilet,  and  2 fine  lemons  ditto 

79  An  oval  scollopt  compotier,  and  4 half  round  ditto,  of  the  fine 
OLD  PATTERN  WIIH  BORDERS  for  desart 

80  Four  fine  roses,  and  four  leaves  to  ditto  for  a desart 

81  One  round  dish,  fourth  size,  4 ditto  fifth  size,  wrought  pattern 
with  fables  and  gilt  edges 

82  Twelve  table  plates  in  landskips  ditto 

83  Two  large  silver-shaped  sauce-boats  and  plates,  enamelled 
with  flowers 

84  A beautiful  groupe  of  figures  representing  the  Sabine  rape 

85  Two  fine  large  porringers  enamelled  with  flowers 

86  Two  fine  small  fig-leaves  and  2 cabbage  lettices 

87  Two  fine  large  ice-pails  enamelled  with  insects 

88  A fine  tureen  in  the  shape  of  a rabbit  as  big  as  life,  in  a fine 
oval  dish 

89  Eight  small  tea-cups  and  saucers,  8 large  handled  cups,  a large 
tea-pot  and  stand,  a slop-bason,  a sugar-bason,  a cream  ewer  and  a plate, 
all  nurl'd  enamelled  with  flowers 

90  Four  small  figures  of  the  sciences  sitting,  and  2 fine  lemons  for 
a toilet 

91  Six  fine  water-cups  and  saucers  scollopt  and  enamelled  with 
flowers 

92  Two  fine  partridges 

93  Four  fine  deep  vine  leaf  dishes,  enamelled  with  flowers 

94  Ditto 

*94  Two  very  fine  Eels  and  Plates 

95  Eight  small  tea  cups  and  saucers,  8 small  handled  cups,  and  a 
cream  ewer  scollopt,  enamelled  with  flowers 

96  Two  beautiful  figures  of  two  sorts,  fishermen  with  different 


nets 


SALE  CATALOGUE  OF  1755 

97  One  oval  dish  third  size,  2 ditto  fourth  size,  and  2 ditto  fifth 
size,  FINE  OLD  PATTERN 

98  Twelve  table  plates  to  ditto 

99  Twelve  soup  plates  to  ditto 

100  Twelve  small  tea-cups  and  saucers  octagon,  in  flowers,  and  a 
tea  pot  OLD  PATTERN 


Third  Day's  Sale , Wednesday,  March  12 

1 One  fine  large  bird,  2 smaller  ditto,  and  2 small  lemons  for  a 
toilet 

2 One  oval  dish  second  size,  2 ditto  third  size,  2 ditto  fourth 
size,  and  4 ditto  fifth  size,  of  the  old  pattern 

3 Twelve  table  plates  ditto 

4 Two  fine  small  sauce  boats  and  plates 

5 One  large  scollopt  compotier,  2 star  ditto,  2 heart  shaped  ditto 
old  pattern,  and  4 small  silver  shaped  dishes  for  desart 

6 Four  small  cabbage  leaves  and  a large  cabbage  leaf  and  bason 

7 Six  nurl'd  saucers  old  pattern,  6 small  cups  with  flowers,  6 small 
chocolate  cups  and  saucers  old  pattern,  a tea  pot  and  stand  enamelled 
in  flowers,  a slop  bason,  a sugar  bason,  a plate  and  a cream  ewer,  all 
DIFFERENT  OLD  PATTERNS 

8 Ditto 

9 Three  small  figures  of  the  arts,  and  one  of  the  seasons,  and  2 
pomatum  pots 

10  Two  quart  jugs  in  flowers,  2 pints  in  birds,  and  2 half  pint  mugs 
in  flowers 

11  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea  cups 
and  saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer 
and  a plate,  all  round  enamelled  in  flowers 

12  Four  small  cabbage  leaves,  2 fine  old  leaves,  and  2 scollopt 
compotiers,  with  green  leaves  for  desart 

13  Ditto 

14  Four  fine  small  artichoaks  for  desart 

15  Twelve  fine  desart  plates  enamelled  with  flowers 

16  Four  round  dishes  fine  wrought  pattern  enamelled  with  flowers 

17  Ditto 

18  Six  beautiful  small  figures  of  different  sorts,  representing  love 
in  disguise  for  desart 

19  Three  porringers  with  birds,  and  1 ditto  in  flowers 

79 


APPENDIX 


20  Eight  small  tea  cups  and  saucers,  8 small  chocolate  cups  and 
saucers,  scollopt,  enamelled  in  flowers 

21  Eight  octagon  tea  cups  and  saucers  in  flowers,  and  a tea  pot  of 
old  pattern 

22  Two  very  fine  large  ice  pails  chased  and  enamelled  with 
flowers 

23  One  round  dish  third  size,  2 ditto  fourth  size,  and  2 ditto  fifth 
size,  scollopt  and  enamelled  with  India  plants 

24  Two  fine  large  sauce  boats  and  plates  to  ditto,  enamelled  with 
flowers 

25  Six  round  water  cups  and  saucers  enamelled  with  flowers 

26  An  exceeding  fine  figure  of  a Madona  and  a child  with  a cross 
in  it's  hand 

27  Three  small  figures  of  the  Italian  theatre,  and  2 small  lemons 
for  a toilet 

28  Two  quart,  2 pint,  and  2 half  pint  mugs  enamelled  with  flowers 

29  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea  cups 
and  saucers,  8 large  handled  cups,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason,  a cream  ewer,  a plate,  and  a spoon  boat,  scollopt,  enamelled 
with  flowers  and  green  leaves 

30  A double  leaved  dish,  2 small  cabbage  leaves,  2 scollopt  compotiers 
green  leaves,  and  4 small  silver  shaped  dishes  in  flowers,  for  desart 

31  Four  large  sun  flower  leaves,  and  4 sun  flowers  to  ditto 

32  Two  fine  large  cabbage  leaves  and  basons  to  ditto 

33  Two  fine  basket  workt  dishes  ornamented  with  green  leaves, 
and  2 fine  deep  vine  leaved  dishes  enamelled  with  flowers 

34  One  dish  first  size,  4 ditto  second  size,  enamelled  with  India 
plants 

35  Twelve  table  plates  to  ditto 

36  Two  fine  large  sauce  boats  and  plates,  green  handles  enamelled 
with  flowers 

37  Two  small  fig  leaves  and  2 cabbage  lettices 

38  Two  ditto 

39  Eight  small  tea  cups  and  saucers,  6 large  chocolate  cups  and 
saucers,  a small  teapot  and  stand,  a slop  bason,  a sugar  bason,  a cream 
ewer,  and  a plate,  nurl’d  enamelled  with  flowers 

40  A very  fine  TUREEN  in  the  shape  of  a double  PIGEON  as 
big  as  life,  and  a fine  basket  workt  dish 

41  Twelve  octagon  soup  plates,  damask  workt,  old  pattern  of  2 

sorts 

42  Two  silver  shaped  large  sauce  boats,  and  plates  enamelled  with 
flowers 


80 


SALE  CATALOGUE  OF  1755 


43  Four  very  fine  small  ducks  in  different  postures 

44  A figure  of  a nurse  and  child,  1 ditto  of  the  arts,  one  ditto  of  the 
seasons,  and  2 pomatum  pots  for  a toilet 

45  Four  small  figures  of  the  sciences 

46  A scollopt  compotier,  old  pattern,  2 nurhd  ditto,  2 small  cabbage 
leaves,  and  4 small  sun  flower  leaves  for  desart 

47  A beautiful  service  for  A desart,  consisting  of  an  oval  pierced 
basket  with  handles,  2 fine  pierced  plates,  and  2 melons,  2 vine  leaf  dishes, 
and  4 small  cabbage  leaves 

48  Twelve  beautiful  scollopt  desart  plates,  India  plants,  all 
different 

49  Six  beautiful  small  figures  of  Cupids  representing  love  in  dis- 
guise, for  desart 

50  A beautiful  round  tureen  and  cover,  sprig  handles,  and  a dish 
to  ditto  enamelled  with  blue  flowers 

51  Nine  scollopt  soup  plates  with  India  plants 

52  Two  small  sauce  boats  green  handles,  and  2 plates  to  ditto 
enamelled  with  flowers 

53  Eight  small  tea  cups  and  saucers,  8 small  handled  cups,  a tea 
pot  and  stand,  a sugar  bason,  a cream  ewer,  and  a spoon  boat,  scollopt, 
enamelled  with  flowers  and  green  leaves 

54  A pair  of  exceeding  fine  toilet  china  candlesticks  with  birds, 

&c. 

55  A compleat  tea  and  coffee  equipage,  consisting  of  8 cups  and 
saucers,  8 coffee  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason,  a cream  ewer,  and  a plate,  all  enamelled  with  flowers 

56  A very  beautiful  tureen  in  the  form  of  a hen  and  chickens 
as  big  as  life,  and  a dish  to  ditto  properly  ornamented 

57  Two  quart,  2 pint,  and  two  half  pint  mugs  enamelled  in  flowers 

58  Two  bears,  2 foxes,  and  2 cows  for  desart,  and  2 fine  small 
lemons 

59  Two  very  fine  carps,  and  2 dishes  to  ditto 

60  Two  large  cabbage  leaves  and  2 fine  melons 

61  Four  fine  deep  vine  leaf  dishes  for  desart,  enamelled  with  flowers 

62  A double  leaved  dish,  2 small  cabbage  leaves,  and  two  large  sun 
flower  leaves  for  desart 

63  A beautiful  perfume  pot  with  3 very  fine  figures  gathering 
flowers 

64  Two  dishes  third  size,  and  4 ditto  fourth  size  oval,  enamelled 
with  India  plants 

65  Ditto 


81 


G 


APPENDIX 


66  Two  fine  large  porringers  with  covers,  scollopt,  ornamented  in 
flowers 

67  Ditto 

68  Eight  small  tea  cups  and  saucers,  and  8 small  chocolate  cups 
and  saucers,  scollopt,  enamelled  with  flowers  and  green  leaves 

69  Ditto 

70  Two  fine  Eels,  and  dishes  to  ditto 

71  One  3 pint  bowl  and  2 quart  ditto  enamelled  with  flowers 

72  Four  small  cabbage  leaves,  2 fine  old  leaves,  and  2 scollopt 
compotiers,  enamelled  with  green  leaves 

73  Four  small  roses  and  4 leaves  to  ditto,  for  desart 

74  Two  beautiful  small  ice  pails,  green  handles,  enamelled  with 
birds 

75  One  quart,  and  1 half  pint  jug,  2 half  pint  mugs  with  flowers, 
and  1 quart  ditto  with  birds 

76  Two  fine  small  basons  and  covers,  sprig  handles,  and  2 plates 
to  ditto  enamelled  with  flowers 

77  Two  fine  partridges 

78  Two  ditto 

79  Two  fine  dishes  to  ditto  ornamented  with  corn,  &c. 

80  A compleat  coffee  and  tea  equipage,  consisting  of  8 tea  cups 
and  saucers,  8 coffee  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer  and  a plate,  all  round  enamelled  in  flowers 

81  An  oval  dish  third  size,  2 ditto  fourth  size,  and  two  round  ditto 
fifth  size,  fine  wrought  pattern  enamelled  with  flowers 

82  Ten  fine  octagon  soup  plates  (Hob  in  the  well) 

83  A beautiful  figure  of  a Spanish  sportsman,  a Chinese  mask, 
and  a nun  standing 

84  Four  small  Cupids  for  a desart,  2 leopards,  and  2 dogs 

85  Eight  tea  cups  and  saucers  octagon  in  flowers,  and  a tea  pot 
old  pattern 

86  Ditto 

87  A most  beautiful  groupe  of  four  boys  representing  the  four 

SEASONS 

88  A compleat  service  for  desart,  consisting  of  a large  double  leaf 
compotier,  2 vine  leaf  dishes,  2 large  fine  fig  leaves,  4 small  fig  leaves,  and 
4 cabbage  lettices 

89  Twelve  curious  desart  plates  chased,  enamelled  with  flowers 

90  Twelve  table  knives,  and  12  three  pronged  forks,  neatly  mounted 
with  silver,  in  a shagreen  case 

91  Six  fine  water  cups  and  saucers,  scollopt,  enamelled  with  flowers 

82 


SALE  CATALOGUE  OF  1755 


92  A pair  of  fine  partridges  for  desart 

93  Ditto 

94  A compleat  coffee  and  tea  equipage,  consisting  of  8 tea  cups 
and  saucers,  8 coffee  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer,  and  a plate,  all  round  enamelled  in 
flowers 

95  Four  Cupids  representing  love  in  disguise,  and  2 fine  pomatum 

pots 

96  An  oval  scollopt  compotier,  2 large  scollopt  ditto,  2 heart  shaped 
ditto,  and  4 nurl'd  ditto,  all  of  the  old  pattern 

97  Two  fine  large  cabbage  leaves  and  basons 

98  One  dish  third  size,  2 ditto  fourth  size,  and  2 ditto  fifth  size, 
oval  scollopt,  old  pattern 

99  Twelve  soup  plates  to  ditto 

100  An  owl  and  2 partridges  with  wheat,  and  2 fine  lemons  for 
desart 


Fourth  Day's  Sale , Thursday,  March  13 

1 Two  nurl'd  basons  with  borders,  and  2 eight  square  ditto  with 
insects 

2 Six  scollopt  saucers  in  flowers,  six  tea  cups  ditto  with  green  leaves, 
five  large  handled  cups,  a small  slop  bason,  a plate  and  stand  same  pattern, 
a tea  pot,  a cream  ewer,  nurl'd  in  flowers,  and  a white  sugar  dish  with 
a cover 

3 One  fine  large  long  tail'd  bird,  2 blue  birds,  and  two  fine  pomatum 

pots 

4 Four  small  cabbage  leaves,  two  fine  old  leaves,  and  two  scollopt 
compotiers  green  leaves 

5 Two  large  cabbage  leaves  and  basons 

6 Two  quart,  two  pint  and  two  half  pint  mugs  enamell'd  with 
flowers 

7 One  dish  second  size,  2 ditto  3d  size,  2 ditto  4th  size,  and  4 ditto 
5th  size  oval,  old  pattern 

8 Four  fine  sallad  dishes,  pheasant  and  border  pattern 

9 Two  fine  large  porringers  and  covers  scollopt  with  birds  and 
gilt  edges 

10  Three  small  figures  of  the  Italian  theatre,  and  two  lemons  for 
desart 

1 1 Ditto 

12  Two  fine  large  carps  and  two  dishes 

83 


APPENDIX 


13  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea  cups 
and  saucers,  8 coffee  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer  and  a plate,  enamell'd  with  flowers 

14  A fine  figure  of  a fisherwoman  with  a basket,  and  a carpenter 
with  his  tools 

15  An  oval  pierced  dish  in  purple,  2 large  scollopt  compotiers 
wheatsheaf  and  fox,  2 scollopt  ditto  in  flowers,  and  four  scollopt  ditto, 
sitting  and  flying  pheasant 

16  Two  very  fine  round  pierced  baskets  and  plates 

17  Twelve  octogon  tea  cups  and  saucers  in  flowers,  and  a tea  pot, 
old  pattern 

18  Ditto 

19  Two  beautiful  figures  of  fishermen  of  two  sorts  with  nets 

20  Two  small  basons  and  covers,  of  the  fine  strawberry  pattern 

21  One  oval  dish  first  size,  two  ditto  2d  size,  and  two  ditto  3d  size, 
damask'd  with  flowers 

22  Twelve  table  plates  ditto 

23  Twelve  soup  plates  ditto 

24  Two  large  silver  shaped  sauce  boats  and  plates  with  flowers 

25  A large  cabbage  leaf,  2 scollopt  compotiers,  2 scollopt  in  flowers, 
2 ditto,  scollopt  wheatsheaf  and  pheasant,  and  two  nurl'd  ditto  garlands 
and  birds 

26  Two  large  scollopt  compotiers  old  pattern,  and  six  roses  for 
DESART 

27  Four  fine  cabbage  leaves 

28  Twelve  desart  plates  scollopt 

29  Ten  small  tea  cups  and  saucers  with  handles,  a plate  scollopt 
with  flowers  and  green  leaves,  and  a cream  ewer  nurl'd 

30  Eight  tea  cups  and  saucers,  octagon  in  flowers,  and  a tea  pot 

OLD  PATTERN 

31  Two  fine  figures  of  Mars  and  Venus 

32  Six  round  water  cups  and  saucers  with  flowers 

33  Two  fine  partridges  for  desart 

34  A fine  small  oval  tureen  and  cover  with  sprig  handles,  and  a 
dish  to  ditto  enamell'd  with  flowers 

35  Two  small  sauce  boats  and  plates,  and  sprig  handles 

36  A set  of  mugs,  consisting  of  two  quarts,  2 pints  and  two  half 
pints,  old  pheasant  pattern 

37  Two  fine  Eels  and  dishes  to  ditto 

38  Two  fine  partridges  for  desart 

39  Two  ditto 


84 


SALE  CATALOGUE  OF  1755 


40  Two  fine  dishes  to  ditto  with  corn, 

41  A compleat  coffee  and  tea  equipage,  consisting  of  eight  tea  cups 
and  saucers,  eight  small  handled  cups,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer,  a plate  and  a spoon  boat  scollopt  with  flowers 
and  green  leaves 

42  A fine  octagon  bowl  of  the  rare  old  japan  pattern  and  red 
pannel 

43  Two  beautiful  figures  of  a shepherd  and  a shepherdess 

44  A service  for  A desart,  consisting  of  a fine  oval  pierced  basket 
with  handles,  4 vine  leaf  dishes,  4 small  cabbage  leaves  and  four  cabbage 
lettices 

45  Two  fine  pine  apples  and  two  fine  artichoaks  for  a desart 

46  Twelve  beautiful  desart  plates  chased  and  enamell'd  with  birds 

47  A fine  tureen  and  cover  in  the  form  of  a hen  and  chickens  big 
as  the  life,  and  a dish  to  ditto  properly  ornamented 

48  Twelve  large  octagon  soup  plates  of  the  old  pattern 

49  Two  sauce  boats  and  plates  enamelled  with  flowers 

50  A compleat  tea  and  coffee  equipage,  consisting  of  8 tea  cups  and 
saucers,  8 coffee  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason,  a cream  ewer,  a plate,  all  round,  of  the  fine  strawberry 
PATTERN 

51  Two  porringers  and  covers  enamell'd  in  flowers  and  gilt  edges 

52  Ditto 

53  A compleat  table  service  of  dishes,  viz.  one  second  size,  2 
ditto  3d  size,  2 ditto  4th  size,  and  4 ditto  5th  size,  with  India  plants 

54  Thirteen  table  plates,  in  fine  figures  of  different  sorts 

55  Two  large  sauce  boats  and  plates 

56  Two  small  ditto 

57  A very  fine  tureen  the  form  of  a double  pigeon,  big  as  the  life, 
in  a basket  work'd  dish 

58  Two  quart,  two  pint  and  two  half  pint  mugs  with  flowers 

59  One  double  leafed  compotier,  2 small  cabbage  leaves,  and  2 
large  sun  flower  leaves  for  desart 

60  Four  small  cabbage  leaves,  two  fine  old  leaves,  and  2 scollopt 
compotiers 

61  Two  fine  large  cabbage  leaves,  and  two  fine  large  melons 

62  Four  busto's  of  gods  and  goddesses,  and  four  lemons  for  a desart 

63  A beautiful  groupe  of  figures  Pantaloon  and  Columbine 

64  Eight  tea  cups  and  saucers,  8 chocolate  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  nurl'd 
enamell'd  with  flowers 


85 


APPENDIX 


65  Two  large  ice  pails  with  flowers 

66  Six  octagon  tea  cups  and  saucers  in  flowers,  and  a tea  pot  old 
pattern 

67  Ditto 

68  Two  fine  small  basons  and  covers  with  flowers 

69  Three  ditto 

70  Twelve  table  knives,  and  12  three  pronged  forks  mounted  with 
silver  in  a shagreen  case 

71  Four  round  dishes  of  the  fourth  size,  and  2 ditto  5th  size,  wrought 
pattern  with  flowers 

72  One  oval  dish  third  size,  2 ditto  4th  size,  and  2 round  ditto 
5th  size  SAME  PATTERN 

73  Two  large  silver  shaped  sauce  boats  and  plates  with  flowers 

74  Two  quart,  two  pint  and  two  half  pint  mugs  ditto 

75  Four  silver  shaped  cups  and  covers  with  two  handles  enamelled 
in  flowers 

76  Four  small  cupids  for  desart,  and  two  pomatum  pots 

77  A scollopt  compotier,  4 ditto  old  pattern,  two  vine  lea[f]  dishes 
and  4 small  cabbage  leaves 

78  Two  fine  large  cabbage  leaves  and  2 melons 

79  Four  fine  deep  vine  leaf  dishes,  enamell'd  with  flowers 

80  Eight  small  tea  cups  and  saucers,  8 small  handled  cups,  a plate 
with  flowers  and  green  leaves  and  a nurl'd  cream  ewer 

81  Ditto 

82  Two  beautiful  figures  of  a gentleman  and  a lady  in  hunting 
dresses 

83  Two  small  porringers  and  covers 

84  One  oval  dish  first  size,  two  ditto  2d  size,  and  two  ditto  3d  size, 
damask'd  with  flowers 

85  Twelve  table  plates  same  pattern 

86  Twelve  soup  plates  ditto 

87  Six  water  cups  and  saucers 

88  A very  fine  large  figure  representing  winter 

89  Two  large  cabbage  leaves  and  two  large  melons 

90  A fine  tureen  in  the  form  of  A rabbit  big  as  the  life,  and  an 
oval  dish 

91  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer,  and  a plate  enamelled 
with  flowers 

92  A double  leaf  dish,  2 small  cabbage  leaves,  and  two  large  sun- 
flower leaves 


86 


SALE  CATALOGUE  OF  1755 


93  Two  small  fig  leaves,  and  two  fine  cabbage  lettices  for  desart 

94  Four  very  fine  small  ducks  in  different  postures 

95  A most  beautiful  perfume  pot,  ornamented  with  garlands  and 
three  little  cupids 

96  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer  and  six  large  chocolate  cups  and  saucers, 
all  nurl'd  old  pattern 

97  Two  beautiful  china  toilet  candlesticks  with  birds,  flowers, 
6cc. 

98  Two  very  fine  partridges  for  desart 

99  Four  fine  birds  of  two  sorts,  and  two  fine  lemons 

100  One  oval  dish  fourth  size,  and  two  ditto  5th  size  old  pattern 

101  Four  fine  leaves  and  4 cabbage  lettice 

102  Ditto 

103  Four  fine  coss  lettice  and  4 leaves 

Fifth  Day's  Sale , Friday,  March  14 

1 Twelve  octagon  tea  cups  and  saucers  in  flowers,  and  a tea  pot 
old  pattern 

2 Ditto 

3 One  dish  third  size,  2 ditto  fourth  size,  and  2 ditto  fifth  size,  oval, 
fine  old  pattern 

4 Four  small  birds  of  two  sorts,  and  2 pomatum  pots 

5 Two  small  scollopt  dishes,  2 star  compotiers,  and  4 scollopt 
compotiers  wheatsheaf  and  pheasant 

6 Two  ten  square  basons  of  the  flaming  tortoise  pattern,  and  2 
ditto  butterflies  old  pattern 

7 Three  small  figures  of  the  Italian  theatre,  and  2 fine  lemons 

8 Four  large  caudle  cups  and  saucers  nurl'd  in  flowers 

9 Four  round  dishes  sixth  size,  scollopt  in  flowers 

10  Ditto 

11  Eight  small  tea  cups  and  saucers,  8 small  chocolate  cups  and 
saucers,  a plate  and  a spoon  boat,  scollopt  in  flowers  and  green  leaves, 
and  a nurl’d  cream  ewer 

12  Two  very  fine  figures  representing  Saturn  and  Jupiter 

13  Four  small  cabbage  leaves,  2 old  leaf  dishes,  and  2 scollopt 
compotiers  with  green  leaves  for  desart 

14  Four  fine  deep  vine  leaf  dishes,  with  flowers  for  ditto 

15  Twelve  desart  plates  in  flowers 

87 


APPENDIX 


1 6 A compleat  tea  and  coffee  equipage,  consisting  of  8 tea  cups 
and  saucers,  8 coffee  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer  and  a plate,  enamelled  in  flowers 

17  Two  basons  and  covers,  sprig  handles,  and  a plate  in  flowers 

18  Two  fine  figures  of  a cobler  and  his  wife 

19  A large  cabbage  leaf  in  purple,  2 vine  leaf  dishes,  2 double 
leaf  compotiers,  and  4 heart  shaped  ditto  old  pattern 

20  Two  large  sun  flower  leaves,  and  2 ditto  flowers 

21  Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

22  Eight  large  tea  cups  and  saucers,  8 ditto  handle  cups,  a plate, 
a cream  ewer,  and  a spoon  boat,  scollopt  in  flowers  and  green  leaves 

23  Six  octagon  cups  and  saucers  in  flowers,  and  a tea  pot  old  pattern 

24  One  dish  4th  size,  and  4 ditto  5th  size,  oval  scollopt  in  flowers 

25  Four  dishes  5th  size  ditto 

26  A pair  of  fine  hanging  branches  ornamented  with  flowers 

27  Two  large  porringers  and  covers 

28  Two  small  fig  leaves,  and  2 fine  cabbage  lettices 

29  Four  small  figures  of  the  sciences,  and  2 pomatum  pots 

30  Four  old  leaves,  and  2 small  cabbage  leaves  for  desart 

31  Ditto 

32  Two  fine  partridges  for  desart 

33  A fine  tureen  in  the  form  of  a rabbit  big  as  life,  and  an  oval 

dish 

34  Four  small  sauce  boats  and  plates,  sprig  handles,  with  flowers 

35  Ditto 

36  Two  fine  ice  pails  with  birds 

37  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason,  a cream  ewer  and  plate  nurl'd,  of  the  twisted  dragon  pattern 

38  Eight  large  octagon  tea  cups  and  saucers,  and  a tea  pot  old  sprig 
pattern 

39  Two  very  fine  figures  playing  on  the  guitar  and  german  flute 

40  A scollopt  compotier  old  pattern,  4 ten  square  ditto,  2 vine  leaf 
dishes,  and  2 small  cabbage  leaves 

41  Four  beautiful  apples  and  4 leaves 

42  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  plate,  enamelled 
in  flowers 

43  One  quart  mug  with  birds,  2 pint  mugs  India  plants,  and  2 half 
pint  ditto  IN  FLOWERS 

44  One  dish  second  size,  2 ditto  third  size,  and  2 ditto  fourth  size, 
oval  scollopt,  with  India  plants 


88 


SALE  CATALOGUE  OF  1755 


45  Two  sauce  boats  green  handles,  and  2 plates 

46  Two  fine  carps  and  2 dishes  to  ditto 

47  Six  fine  water  cups  and  saucers  in  flowers 

48  One  double  leaf  compotier,  2 small  cabbage  leaves,  2 large  sun 
flower  leaves,  and  4 small  fig  leaves  for  desart 

49  Twelve  fine  desart  plates  in  flowers 

50  Two  fine  partridges 

51  Two  DITTO 

52  Two  very  fine  dishes  to  ditto,  with  corn,  &c. 

53  Two  fine  leaves  scollopt,  with  handles,  and  2 fine  butter  tubs 
with  holes 

54  Two  fine  round  bowls  in  flowers 

55  Two  scollopt  dishes  lady  pattern,  2 star  compotiers  green  leaves, 
and  4 scollopt  compotiers,  wheatsheaf  and  pheasant  pattern 

56  A double  leaf  dish,  2 large  sun  flower  leaves,  and  2 small  cabbage 
leaves  for  desart 

57  Four  small  figures  of  the  seasons  for  desart 

58  Two  dishes  3d  size,  2 ditto  4th  size,  with  India  plants 

59  One  dish,  3d  size,  and  4 sallad  dishes  ditto,  same  pattern 

60  A FINE  LARGE  TUREEN  AND  DISH  DITTO 

61  Twelve  fine  table  plates  ditto 

62  Twelve  octagon  soup  plates  damasked  with  flowers 

63  Two  fine  large  sauce  boats,  green  handles,  and  plates 

64  A set  of  mugs,  consisting  of  2 quarts,  2 pints  with  India  plants, 
and  2 half  pints  in  flowers 

65  Two  fine  porringers  and  covers  scollopt  with  insects 

66  A beautiful  tureen  in  the  form  of  a hen  and  chickens  big  as  the 
life,  and  a dish  ornamented  with  sun  flowers,  6cC. 

67  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  plate,  with 
flowers 

68  Four  bustos  of  heathen  gods  and  goddesses,  and  4 fine  swans 
for  desart 

69  Eight  octagon  tea  cups  and  saucers  in  flowers,  and  a tea  pot  of 
the  old  pattern 

70  A magnificent  perfume  pot  finely  enamelled,  ornamented 
with  a setting  dog  and  rabbits 

71  Four  fine  double  leaf  dishes  with  flowers  and  yellow  ground, 
for  desart 

72  Four  deep  compotiers  ditto 

89 


APPENDIX 


73  Two  scollopt  compotiers  green  leaves,  a pierced  dish  and  2 
half  round  compotiers  yellow  ground 

74  Two  fine  large  cabbage  leaves  and  2 melons 

75  Four  fine  small  sun  flower  leaves  and  4 chickens  to  ditto  for 
desart 

76  Two  porringers  and  covers,  scollopt  edges  and  flowers 

77  Two  basons  sprig  handles  and  covers,  with  flowers 

78  Twelve  table  knives  and  forks  mounted  with  silver,  in  a shagreen 

case 

79  Eight  small  tea  cups  and  saucers,  8 small  handled  cups,  a tea 

pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer,  a plate,  and  a 

spoon  boat,  scollopt  with  flowers  and  green  leaves 

80  An  oval  dish  2d  size,  2 ditto  4th  size,  and  2 round  ditto  5 th  size, 
wrought  pattern  of  different  landskips 

81  Twelve  fine  table  plates  ditto  enamelled  with  birds 

82  Two  silver  shaped  sauce  boats  and  plates  with  flowers 

83  Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

84  Three  small  figures  of  the  Italian  theatre,  and  2 pomatum  pots 

85  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  plate,  enamelled 
with  flowers 

86  A white  pierced  plate,  3 citrons,  2 vine  leaf  dishes,  and  2 small 
cabbage  leaves 

87  A fine  basket  work'd  dish  with  leaves,  2 old  leaves,  2 scollopt 
compotiers  green  leaves,  and  4 deep  compotiers  with  flowers  for  desart 

88  Twelve  scollopt  desart  plates  with  flowers 

89  Two  small  cabbage  leaves,  2 oranges,  2 lemons,  and  2 small 
melons 

90  A beautiful  figure  of  a shepherdess  standing,  and  2 figures 
sitting  and  playing  on  the  german  flute  and  guitar 

91  Two  fine  Eels  and  2 dishes  to  ditto 

92  Six  water  cups  and  saucers  scollopt  in  flowers 

93  Eight  tea  saucers  scollopt  in  flowers,  8 tea  cups,  a slop  bason 
and  a plate  ditto  with  green  leaves,  a tea  pot  and  a cream  ewer  nurl'd 
in  flowers,  and  a white  sugar  dish  and  cover 

94  An  oval  dish  3d  size,  2 ditto  4th  size,  and  2 round  ditto  5th 
size,  wrought  pattern  in  flowers 

95  Two  round  dishes,  4th  size,  and  4 ditto  fifth  size  same  pattern 

96  Two  sauce  boats  and  plates,  silver  shaped  with  flowers 

97  Two  small  ice  pails,  enamelled  in  birds 

98  Two  beautiful  china  toilet  candlesticks  with  flowers  and  birds 

90 


SALE  CATALOGUE  OF  1755 


99  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  with 
flowers 

100  One  dish  3d  size,  2 ditto  fourth  size,  and  2 ditto  fifth  size 
oval,  FINE  OLD  PATTERN 


Sixth  Day's  Sale , Saturday,  March  15 

1 Eight  octagon  tea  cups  and  saucers  in  flowers,  and  a small  tea  pot 
old  pattern 

2 Ditto 

3 One  dish  3d  size,  2 ditto  4th,  and  2 ditto  5th  size  oval  fine  old 
pattern 

4 Twelve  table  plates,  ditto 

5 A scollop'd  dish  in  flowers,  2 small  ditto,  and  2 ten  square  com- 
potiers,  wheatsheaf  and  tyger  pattern 

6 Three  small  figures  of  the  Italian  theatre,  and  2 lemons 

7 Two  quart,  2 pint  and  2 half  pint  mugs  in  flowers 

8 Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  in  flowers 

9 Two  large  porringers  and  covers  with  insects 

10  Four  small  cabbage  leaves,  2 fine  old  leaves,  2 scollop'd  com- 
potiers  green  leaves 

11  One  large  compotier,  and  heartshaped  ditto  old  pattern 

12  Ditto 

13  Two  small  fig  leaves,  and  2 cabbage  lettices 

14  A very  fine  figure  of  a madona  with  a child  and  a cross 

15  Eight  small  tea  cups  with  handles  and  saucers,  8 small  handled 
cups  and  8 large  saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason, 
a cream  ewer  and  plate,  scollop'd  enamelled  with  flowers 

16  One  dish  3d  size,  2 ditto  4th  size,  and  2 ditto  5th  size,  with 
India  plants 

17  Ditto 

18  Thirteen  table  plates  in  figures  all  different 

19  Twelve  desart  plates,  India  plants 

20  Two  fine  small  sauce  boats  and  plates  in  flowers 

21  Two  quart,  2 pint  and  2 half  pint  mugs  in  flowers 

22  Two  small  porringers  and  covers  in  flowers  and  gilt  edges 

23  Eight  octagon  tea  cups  and  saucers  in  flowers,  and  a tea  pot 
old  pattern 


9i 


APPENDIX 


24  Six  small  cupids  representing  love  in  disguise  for  desart 

25  A curious  pair  of  china  toilet  candlesticks,  with  birds,  flowers, 

&c. 

26  Four  small  ducks  in  different  postures 

27  Two  fine  white  pierced  baskets  and  plates 

28  A pair  of  vases  with  sprigs  and  fine  flowers 

29  Two  round  basons,  covers  and  plates,  of  the  fine  strawberry 

PATTERN 

30  Six  round  water  cups  and  plates  in  flowers 

31  A beautiful  large  groupe  of  3 cupids 

32  A very  fine  tureen  in  the  form  of  A double  pigeon  big  as  life 
in  a fine  basket  work'd  dish 

33  Eight  octagon  damask  soup  plates  in  flowers 

34  Four  octagon  sallad  dishes  old  partridge  pattern  with  border 

35  Two  fine  partridges  in  a beautiful  dish  with  corn  &c. 

36  Ditto 

37  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  of  the 
fine  STRAWBERRY  PATTERN 

38  A nurse  and  child,  and  2 figures  of  the  Italian  theatre 

39  Two  porringers  and  covers  with  birds,  and  2 fine  lemons  for 
a toilet 

40  Two  small  ditto  in  flowers  and  gilt  edges,  and  2 fine  pomatum 

pots 

41  Twelve  tea  cups  and  saucers,  a slop  bason,  a sugar  bason  and 
a cream  ewer,  nurl'd  partridge  pattern 

42  Four  small  cabbage  leaves,  2 fine  old  leaves,  and  2 scollop'd 
compotiers  green  leaves  for  a desart 

43  Ditto 

44  Four  small  roses  and  4 leaves  to  ditto  for  desart 

45  Two  fine  partridges  for  desart 

46  Ditto 

47  Two  fine  carps  and  dishes  to  ditto 

48  Two  small  sauce  boats  and  plates 

49  Two  quart  jugs  in  flowers,  2 pint  mugs,  and  2 half  pint  ditto 

50  Six  octagon  tea  cups  and  saucers,  and  a tea  pot  old  pattern,  and 
2 fine  lemons  for  a toilet 

51  A round  tureen  and  cover,  and  a dish  finely  enamell'd  in 
purple  flowers 

52  Two  large  silver  shaped  sauce  boats  and  plates  in  flowers 

92 


SALE  CATALOGUE  OF  1755 


53  A beautiful  groupe  of  figures  representing  Perseus  and  Andro- 
meda 

54  Two  small  cabbage  leaves  and  2 lettices 

55  A round  pierced  plate  enamell'd,  a cabbage  leaf  bason,  2 large 
sun  flower  leaves,  and  2 small  cabbage  leaves  for  desart 

56  Two  fine  large  cabbage  leaves,  and  2 fine  melons  ditto 

57  Four  small  cupids  for  desart,  and  2 fine  lemons  for  a toilet 

58  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  all  in 
flowers 

59  A fine  oblong  dish  1st  size,  and  4 ditto  4th  size,  Mosaic  border 
enamell'd  in  flowers 

60  Eighteen  table  plates  same  pattern 

61  Twelve  soup  plates  same  pattern 

62  Two  small  silver  shaped  sauce  boats  and  plates  in  flowers 

63  Twelve  table  knives  and  12  three  prong'd  forks,  mounted  with 
silver  in  a shagreen  case 

64  Two  small  porringers  with  insects  and  gilt  edges,  and  2 fine 
pomatum  pots 

65  Two  small  ice  pails  in  flowers 

66  Two  curious  Eels  and  2 dishes 

67  A Service  for  a desart,  viz.  a double  leaved  dish,  2 small  cabbage 
leaves,  2 scollop'd  compotiers  green  leaves  and  4 small  silver  shaped 
dishes 

68  Two  fine  pierced  plates  and  6 roses 

69  TWO  LARGE  CABBAGE  LEAVES  AND  BASONS 

70  Four  fine  artichoaks  for  a desart 

71  A fine  figure  of  a fisherwoman,  and  one  of  a carpenter  with  his 

tools 

72  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer  and  a plate  nurl'd  of  the  twisted  dragon 
pattern 

73  Six  tea  cups  and  saucers,  six  chocolate  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  plate  the 
wheatsheaf  and  fox  pattern  nurl'd 

74  A very  fine  large  round  bowl  enamell'd  with  flowers 

75  Two  small  basons  and  covers  in  flowers  and  2 plates  to  ditto 

76  An  oval  dish  3d  size,  2 ditto  5th  size,  2 round  ditto  5th  size, 
and  4 small  sallad  dishes,  wrought  pattern  with  fine  figures 

77  Twelve  table  plates  to  ditto 

78  Fifteen  soup  plates  to  ditto 

93 


APPENDIX 


79  Two  very  fine  sauce  boats  to  ditto,  and  2 very  fine  small  sallad 
dishes  to  ditto 

80  A set  of  mugs,  viz.  1 quart,  1 pint,  1 half  pint  with  birds,  i 
quart,  1 pint  and  1 half  pint  ditto  with  insects 

81  A fine  figure  of  Diana,  i ditto  of  an  Indian  prince,  and  a 
religious  figure 

82  An  oval  pierced  dish,  2 vine  leaf  dishes,  2 half  round  compotiers 
with  insects,  and  4 ten  square  ditto  in  flowers  for  desart 

83  Twelve  fine  desart  plates  in  flowers 

84  A large  cabbage  leaf  and  bason,  and  4 old  leaves  in  flowers 

85  Four  small  cupids  ornamented,  for  desart,  and  2 fine  lemons 

86  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  compleat 
in  flowers 

87  Six  small  octagon  tea  cups  and  saucers,  enamell’d  in  purple 

88  Ditto 

89  Four  fine  water  cups  and  saucers  in  flowers  scollop’d  edges 

90  A large  and  curious  perfume  pot  in  the  form  of  A pigeon  house, 
richly  ornamented  with  pigeons,  a fox,  &c. 

91  An  oval  dish,  2d  size,  2 ditto  4th  size,  and  2 round  ditto  4th 
size,  fine  wrought  pattern  different  landskips 

92  Two  fine  groupes  of  figures  of  a Leda  and  a Venus 

93  Six  tea  cups  and  saucers,  7 handle  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason  and  a cream  ewer,  octagon  old 
JAPAN  PATTERN 

94  Four  small  cabbage  leaves,  2 fine  old  leaves  and  2 scollop’d 
compotiers  enamell'd  green  leaves 

95  Two  large  scollop’d  compotiers  and  6 roses 

96  A large  cabbage  leaf  and  bason  in  purple,  2 vine  leaf  dishes, 
2 half  round  compotiers  yellow  ground  and  4 scollop'd  compotiers  in 
flowers 

97  Three  figures  of  the  Italian  theatre  and  2 pomatum  pots 

98  Two  fine  figures  of  a river  god  and  a river  goddess 

99  Twelve  octagon  tea  cups  and  saucers  in  purple 

100  Three  fine  large  birds  and  2 long  tail'd  birds 

101  Four  beautiful  large  roses  and  leaves  for  desart 

102  Six  tea  cups  and  saucers,  and  an  old  leaf  tea  pot,  a small  slop 
bason,  a sugar  bason,  a cream  ewer  and  a plate  nurl’d 

103  A figure  of  a nurse  and  child,  2 ditto  of  the  sciences,  and  2 
lemons  for  desart 

104  Four  fine  leaves  and  4 cabbage  lettice 

94 


SALE  CATALOGUE  OF  1755 


Seventh  Day's  Sale,  Monday,  March  17 

1 Four  fine  small  melons 

2 One  dish  third  size,  two  ditto  4th  size,  and  two  ditto  5th  size 
oval  old  pattern 

3 Fifteen  table  plates  of  two  sorts  old  pattern 

4 A scollopt  dish  and  four  scollopt  compotiers  in  flowers 

5 Two  scollopt  compotiers  in  flowers,  four  small  scollopt  ditto, 
old  pattern,  and  two  vine  leaves 

6 Twelve  large  chocolate  cups  and  saucers  and  a cream  ewer,  nurl'd 
with  flowers 

7 Two  small  figures  after  Teniers,  and  two  Chinese  figures 

8 Two  fine  large  basons,  covers,  and  plates  in  flowers 

9 Ditto 

10  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
cup  and  stand,  a slop  bason,  a sugar  bason  and  cream  ewer,  and  a plate 
compleat  in  flowers 

11  One  dish,  third  size,  two  ditto  4th  size,  and  two  ditto  5th  size, 
round  scollopt  with  India  plants 

12  A round  dish  third  size,  two  ditto  5 th  size,  and  2 oval  ditto  5 th 
size  wrought  pattern  with  flowers 

13  Two  silver  shaped  sauce  boats  and  plates 

14  Two  quart,  two  pint  and  two  half  pint  mugs  in  flowers 

15  Two  fine  figures  of  a man  and  a woman  playing  on  the  tabor 
and  pipe  and  german  flute 

16  Eight  small  tea  cups  and  saucers,  eight  handled  cups,  a plate 
and  a cream  ewer  scollopt  with  green  leaves 

17  Ditto 

18  Two  fine  large  ice  pails  chased 

19  Two  small  porringers  and  covers  in  flowers  and  gilt  edges 

20  One  three  pint  and  two  single  quart  bowls 

21  A curious  bread  basket  fine  old  pattern  and  border 

22  Two  large  cabbage  leaves  and  basons 

23  Two  fine  white  pierced  plates  and  6 boxes 

24  Eight  octagon  tea  cups  and  saucers,  and  a tea  pot  old  pattern 

25  Ditto 

26  Three  figures  of  the  Italian  theatre,  and  two  lemons  for  desart 

27  Two  very  fine  black  figures  of  an  Indian  prince  and  a queen 

28  Two  oval  dishes  third  size,  2 ditto  fourth  size,  and  4 ditto  fifth 
size,  scollopt 

29  Twelve  table  plates  silver  shaped 

95 


APPENDIX 


30  Two  small  sauce  boats  and  plates,  green  handles 

31  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer 
and  a plate  enamelled  in  flowers 

32  A fine  tureen  in  the  form  of  a rabbit  as  big  as  the  life  in  an 
oval  dish 

33  Two  quart,  2 pint  and  two  half  pint  mugs 

34  Two  fine  large  porringers  and  covers 

35  Six  fine  water  cups  and  saucers  scollopt  edges 

36  A figure  of  a nun  reading,  and  two  small  figures  of  the  sciences 
sitting 

37  Eight  small  tea  cups  and  saucers,  8 small  handled  cups,  a plate 
with  green  leaves  and  a cream  ewer  nurl'd 

38  Twelve  octagon  tea  cups  and  saucers,  and  a tea  pot  old  pattern 

39  Ditto 

40  A pair  of  fine  toilet  candlesticks  ornamented  with  birds, 
flowers,  6cc. 

41  One  dish  fourth  size,  and  4 ditto  fifth  size  scollopt 

42  Four  dishes  fifth  size  same  pattern 

43  Twelve  desart  plates 

44  A figure  of  a fidler,  one  ditto  of  a Savoyard,  and  one  ditto  of 
a Dutchman  dancing 

45  Four  small  busts  of  gods  and  goddesses  and  2 swans  for  desart 

46  Four  small  cabbage  leaves,  2 old  leaves  and  2 scollopt  com- 
potiers  green  leaves 

47  Four  fine  large  sunflower  leaves 

48  Four  fine  large  fig  leaves 

49  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer 
and  a plate,  all  enamelled  in  flowers 

50  A very  fine  tureen  in  the  form  of  a hen  and  chickens  big  as 
the  life,  in  a beautiful  dish  ornamented  with  sunflowers,  &c. 

51  Ditto 

52  Four  round  dishes  wrought  pattern  enamell'd  with  fables  and 
gilt  edges 

53  Ditto 

54  Nine  table  plates  the  same  pattern 

55  Two  small  sauce  boats  and  plates  silver  shape 

56  Three  figures  of  the  Italian  theatre,  and  two  lemons 

57  A large  cabbage  leaf  and  bason  in  purple,  2 vine  leaf  dishes,  2 
half  round  compotiers  with  insects,  and  4 ditto  tyger  and  rock  pattern 

96 


SALE  CATALOGUE  OF  1755 


58  Two  large  sunflower  leaves  and  two  sunflowers  to  ditto 

59  Four  small  sunflower  leaves  and  four  chickens  for  desart 

60  Four  fine  large  roses  and  four  leaves  to  ditto  for  desart 

61  Four  small  figures  of  the  seasons  for  desart 

62  One  dish  third  size,  2 ditto  fourth  size,  and  2 ditto  fifth  size, 
oval  scollopt  with  flowers 

63  Thirteen  damask'd  soup  plates,  enamell'd  with  5 groupes  of 
flowers 

64  Two  small  saucers  and  plates  green  handles 

65  Ditto 

66  Two  fine  carps  and  dishes  to  ditto 

67  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer,  and  a plate 

68  A very  beautiful  groupe  of  figures  representing  Europe  and 

Asia 

69  Two  ditto  Africa  and  America 

70  Two  quart,  two  pint  and  two  half  pint  mugs 

71  Four  small  cabbage  leaves,  2 old  leaves,  and  2 scollopt  compotiers 
green  leaves 

72  Two  small  fig  leaves  and  2 lemons  for  desart 

73  Two  ditto,  and  two  roses  for  desart 

74  Two  fine  partridges 

75  Two  ditto 

76  Two  fine  dishes  to  ditto  ornamented  with  corn 

77  Eight  tea  saucers,  8 tea  cups,  a slop  bason,  a plate,  a cream  ewer, 
and  a white  sugar  dish 

78  Ditto 

79  Two  fine  Eels  and  two  dishes  to  ditto 

80  A scollopt  deep  fruit  basket  fine  old  pattern,  and  four  white 
vine  leaf  dishes 

81  Twelve  fine  desart  plates  in  flowers 

82  Twelve  table  knives  and  12  three  pronged  forks  mounted  with 
silver  in  a shagreen  case 

83  Two  fine  large  cabbage  leaves  and  two  large  melons  to  ditto 

84  Four  fine  deep  vine  leaf  dishes  for  desart 

85  Ditto 

86  Two  fine  basons  and  covers  green  handles 

87  Ditto 

88  A fine  large  figure  of  a woman  sitting  with  a basket,  one  ditto 
of  the  Italian  theatre  and  1 ditto  of  the  seasons 

97 


H 


APPENDIX 


89  Eight  large  octagon  tea  cups  and  saucers,  and  a tea  pot 

90  Twelve  octagon  tea  cups  and  saucers,  and  a tea  pot 

91  One  dish  1st  size,  4 ditto  2d  size,  scollopt  enamel'd  India  plants 

92  Twelve  table  plates  same  pattern 

93  Two  large  sauce  boats  and  plates,  green  handles 

94  Four  fine  ducks  in  different  postures 

95  Two  fine  partridges 

96  Ditto 

97  Two  exceeding  fine  high  figures  of  Mercury  and  Jupiter 

98  One  dish  2d  size,  2 ditto  3d  size,  and  2 ditto  5th  oval  old  pattern 

99  Seventeen  table  plates  same  pattern 

100  Two  nurl’d  basons  and  2 eight  square  ditto,  old  pattern 

101  Two  large  porringers  scollopt  edges 

102  A figure  of  a nurse  and  child,  2 ditto  of  the  Italian  theatre 
and  2 pomatum  pots 

103  Six  small  octagon  cups  and  saucers  in  purple 

104  Four  fine  leaves  and  4 cabbage  lettice 

105  Four  fine  coss  lettice  and  4 leaves 


Eighth  Day's  Sale,  Tuesday,  March  18 

1 One  dish  2d  size,  2 ditto  3d  size,  2 ditto  4th,  and  2 ditto  5th  size 
oval  of  the  fine  old  pattern 

2 Eighteen  desart  plates  the  same  pattern 

3 Two  small  sauce  boats  and  plates  green  handles 

4 Twelve  octagon  tea  cups  and  saucers,  and  a tea  pot  old  pattern 

5 Six  tea  cups  and  saucers  ditto  and  a tea  pot  old  pattern 

6 Four  small  figures  of  the  sciences  for  desart 

7 Ditto 

8 A scollopt  dish  in  flowers,  and  4 compotiers  pheasant  and 
wheatsheaf 

9 Two  large  scollopt  compotiers  old  pattern  and  6 roses 

10  Four  fine  cabbage  leaves 

11  Two  fine  small  fig  leaves  and  2 cabbage  lettices 

12  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and  saucers, 
a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer,  and  a plate 
enamelled  in  flowers 

13  A round  dish  3d  size,  2 ditto  fifth  size,  and  2 oval  ditto  5th 
size,  wrought  pattern  with  flowers 

98 


SALE  CATALOGUE  OF  1755 

14  Four  fine  dishes  5 th  size,  round  wrought  pattern  in  fables  and 
gilt  edges 

15  Two  sauce  boats  and  plates  green  handles 

16  Two  quart,  2 pint,  and  2 half  pint  mugs 

17  Two  fine  porringers  and  covers  scollopt  edges 

18  A shepherd  playing  on  a flute,  a fidler  and  a man  dancing,  the 
LAST  BROKE 

19  Eight  large  octagon  tea  cups  and  saucers,  and  a large  tea  pot 

20  Eight  tea  cups  and  saucers,  8 handled  cups,  a tea  pot  and  stand, 
a slop  bason,  a sugar  bason,  a cream  ewer,  a plate,  and  a spoon  boat, 
scollopt  in  flowers  and  green  leaves 

21  Twelve  table  knives  and  12  forks  mounted  with  silver  in  a 
shagreen  case 

22  Four  small  Cupids  for  desart,  and  two  pomatum  pots 

23  A large  cabbage  leaf  and  bason  in  purple,  two  small  cabbage 
leaves,  two  half  round  compotiers  yellow  ground,  and  4 compotiers 

PHEASANT  PATTERN 

24  Four  deep  vine  leaf  dishes  for  a desart 

25  Four  fine  artichoaks  two  sizes 

26  Two  fine  pine  apples 

27  Two  quart,  two  pint,  and  two  half  pint  mugs 

28  Six  round  water  cups  and  saucers 

29  Eight  octagon  tea  cups  and  saucers,  and  a tea  pot  old  pattern 

30  Ditto 

31  A large  cabbage  leaf,  2 scollopt  compotiers,  and  2 heart  shaped 
compotiers  fine  old  pattern 

32  Four  fine  small  cabbage  leaves  for  desart 

33  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
a plate  enamelled  with  figures 

34  Three  very  fine  figures  of  a man  playing  on  the  salt  box,  and  a man 
and  a woman  dancing 

35  Four  small  cabbage  leaves,  two  fine  old  leaves,  and  two  scollopt 
compotiers,  with  green  leaves 

36  Two  large  scollopt  compotiers,  and  6 roses  for  desart 

37  Four  fine  apples  and  four  leaves  for  desart 

38  Two  small  fig  leaves  and  two  cabbage  lettices 

39  Twelve  octagon  tea  cups  and  saucers  in  purple 

40  Ditto 

41  A very  fine  tureen  in  the  form  of  a rabbit  as  big  as  life,  in  a 
fine  OVAL  DISH 


99 


APPENDIX 


42  Two  large  silver  shaped  sauce  boats  and  plates 

43  Three  figures  of  the  Italian  theatre 

44  A fine  figure  of  a Spanish  sportsman,  and  a Leda  with  a swan 

45  One  dish  3d  size,  two  ditto  4th  size,  and  two  ditto  5th  size  round 
scollopt  India  plants 

46  Ten  fine  scollopt  table  plates  with  insects 

47  Two  small  sauce  boats  and  plates  green  handles 

48  Six  octagon  tea  cups  and  saucers,  and  a tea  pot 

49  Ditto 

50  A pair  of  curious  toilet  candlesticks  ornamented  with  birds, 

&c. 

51  A compleat  set  of  7 beautiful  jars  and  beakers,  with  flowers  and 
gilt  edges,  for  a cabinet 

52  A large  cabbage  leaf,  two  star  compotiers,  and  two  heart  shaped 

ditto 

53  Two  PARTRIDGES 

54  Two  ditto 

55  Two  DISHES  TO  DITTO 

56  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all 
in  flowers 

57  One  round  dish  3d  size,  2 ditto  4th  size,  2 ditto  oval  4th  size 
wrought  pattern,  with  landskip  and  figures 

58  Four  fine  octagon  sallad  dishes,  old  partridge  pattern  and  border 

59  Two  small  silver  shaped  sauce  boats  and  plates 

60  A very  curious  TUREEN  in  the  form  of  a BOAR'S  HEAD,  and 
a beautiful  dish  to  ditto  with  proper  ornaments 

61  Two  fine  round  basons,  covers  and  plates 

62  Three  small  ditto 

63  Eight  small  tea  cups  and  saucers,  8 small  handled  cups,  a tea 
pot  and  stand,  a plate,  a cream  ewer,  and  a spoon  boat,  scollopt 

64  Two  fine  figures  of  Apollo  and  Diana 

65  Two  fine  basket  work'd  dishes,  and  two  fine  deep  vine  leaf 
dishes 

66  Twelve  fine  desart  plates,  chased  and  enamelled  with  flowers 

67  Six  small  Cupids  representing  love  in  disguise,  for  a desart 

68  Two  quart,  2 pint,  and  two  half  pint  mugs 

69  Two  fine  large  porringers  and  covers  scollopt  edges 

70  Four  fine  ducks  in  different  postures 

71  A beautiful  groupe  of  figures  representing  the  rape  of  the 
Sabines 


100 


SALE  CATALOGUE  OF  1755 


72  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a sugar  bason, 
a cream  ewer  and  a plate,  all  nurl'd 

73  Three  figures  of  the  Italian  theatre,  and  2 fine  pomatum  pots 

74  Two  fine  Eels  and  two  curious  dishes 

75  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
a plate 

76  A large  cabbage  leaf  and  bason,  4 old  leaves  and  4 compotiers 

77  Two  fine  large  cabbage  leaves  and  2 fine  large  melons 

78  Six  water  cups  and  saucers,  scollopt  edges 

79  Eight  small  tea  cups  and  saucers,  8 small  chocolate  cups  and 
saucers,  scollopt 

80  A beautiful  perfume  pot,  with  3 little  Cupids  gathering 
flowers 

81  Five  oval  dishes  3d  size  fine  old  pattern 

82  Seven  table  plates  old  pattern,  and  2 sauce  boats  and  plates  OF 
two  sizes 

83  Two  quart,  2 pint,  and  2 half  pint  mugs 

84  Two  fine  large  figures  of  Diana  and  a Saturn 

85  Two  fine  small  porringers  and  covers  gilt  edges 

86  Ditto 

87  Six  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason,  a cream  ewer  and  a plate,  nurl'd,  old  pattern 

88  Eight  large  octagon  tea  cups  and  saucers,  and  a small  tea  pot 
old  sprig  pattern 

89  A nurse  and  child,  and  2 small  figures 

90  A scollopt  fruit  basket,  and  4 fine  white  vine  leaf  dishes 

91  Four  small  cabbage  leaves 

92  Two  fine  artichoaks 

93  Ditto 

94  Four  fine  dishes  with  green  leaves 

95  Two  small  sauce  boats  and  plates,  sprig  handles 

96  Two  fine  figures  of  a man  and  a woman  playing  on  the  flute  and 
guitar 

97  Two  fine  basons,  covers  and  plates 

98  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a small  slop 
bason,  a sugar  bason  and  a cream  ewer  nurl’d  old  pattern 

99  Two  nurl'd  basons  and  2 eight  square  ditto  old  pattern  with 
insects 

100  Twelve  tea  cups  and  saucers,  octagon  in  flowers,  and  a tea 
pot  old  pattern 


101 


APPENDIX 


101  A beautiful  groupe  of  figures  of  a man  and  woman  dancing 

102  Two  fine  small  basons,  covers  and  plates 

103  A nun  reading  and  2 small  figures  of  the  seasons 

104  Four  fine  leaves  and  4 cabbage  lettices 

Ninth  Day’s  Sale , Wednesday,  March  19 

1 Ten  chocolate  cups  and  saucers,  and  a cream  ewer  nurl'd 

2 Twelve  ditto 

3 Four  small  figures  and  2 fine  lemons 

4 A small  desart  service,  viz.  a fine  double  leaf  dish,  2 vine  leaf 
ditto  and  2 deep  scollop'd  compotiers 

5 Two  fine  small  cabbage  leaves  and  2 lettices 

6 Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  in  flowers 

7 An  oval  dish,  3d  size,  2 ditto  4th  size,  and  2 ditto  round  4th 
size  wrought  pattern 

8 Two  silver  shaped  sauce  boats  and  plates 

9 Two  quart,  2 pint,  and  2 half  pint  mugs 

10  Two  fine  figures  playing  on  a violin  and  the  guitar 

11  A double  leaf  dish,  4 old  leaves  and  4 scollop'd  compotiers 

12  Two  small  fig  leaves  and  2 cabbage  lettices  for  desart 

13  Six  tea  cups  and  saucers,  6 chocolate  cups  and  saucers,  6 handled 
cups,  a tea  pot  and  stand,  a small  slop  bason,  a sugar  bason  and  a cream 
ewer  nurl'd 

14  Six  octagon  tea  cups  and  saucers  in  flowers,  and  a tea  pot  old 
pattern 

15  A fine  tureen  in  the  form  of  a double  pigeon  big  as  the  life 
in  a fine  basket  work  dish 

16  Two  small  sauce  boats  with  green  handles  and  plates 

17  Two  fine  porringers  with  birds 

18  A fine  figure  of  a woman  with  a basket,  and  2 small  ditto  after 
Teniers 

19  One  large  scollop'd  compotier  and  4 heart  shaped  ditto  old 
PATTERN 

20  Four  fine  deep  vine  leaf  dishes 

21  Two  very  fine  ice  pails  chased  with  grapes  and  vine  leaves 

22  Four  fine  oval  dishes  3d  size  India  plants 

23  Two  large  sauce  boats  and  plates 

24  Two  fine  basons  and  covers 


102 


SALE  CATALOGUE  OF  1755 


25  Three  pint  and  2 half  pint  mugs,  different 

26  A beautiful  round  tureen  and  dish,  with  green  handles  finely 
enameird  with  flowers 


27  A curious  ink  stand  compleat  finely  enamell'd  with  flowers 

28  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  enamell'd 
WITH  BIRDS 

29  Two  fine  figures  of  A cobler  and  his  wife 

30  A double  leaf  dish,  4 old  leaves  and  4 scollopt  compotiers 

31  Four  fine  deep  vine  leaf  dishes 

32  Eight  tea  cups  with  handles  and  saucers,  6 chocolate  cups  and 
saucers,  8 handled  cups  and  a cream  ewer  scollopt 

33  Two  fine  Eels  and  2 curious  dishes 

34  Two  very  fine  collyflowers  and  2 plates 

35  Two  quart,  2 pint,  and  2 half  pint  mugs 

36  Four  figures  of  the  seasons  for  desart 

37  Eight  octagon  tea  cups  and  saucers,  a small  tea  pot  and  stand 
and  a sugar  dish 

38  Ditto 

39  Two  round  dishes  4th  size,  and  4 ditto  5th  size  fine  wrought 
pattern 

40  Six  round  water  cups  and  saucers 

41  A scollopt  deep  fruit  basket  old  pattern  and  4 white  vine  leaf 
dishes 


42  Four  small  cabbage  leaves  for  desart 

43  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate 
enameird  in  figures 

44  A fine  figure  of  A cook  and  1 ditto  of  A fisherman 

45  Two  dishes  4th  size,  and  4 ditto  5th  size  oval  scollopt 

46  A pair  of  fine  toilet  candlesticks  with  flowers  and  birds 

47  Eight  tea  cups  and  saucers,  8 handle  cups,  a tea  pot  and  stand, 
a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  all  nurl'd  Chinese 
arms 

48  A figure  of  the  Italian  theatre,  and  2 fine  lemons 

49  Four  small  cabbage  leaves  and  a large  cabbage  leaf  and  bason 

50  A VERY  FINE  BEAUTIFUL  HIGH  JARR,  WHITE  EMBOSS'D  WITH 
flowers  and  richly  gilt 

51  Four  very  fine  ducks  for  desart  in  different  postures 

52  Four  small  cabbage  leaves,  2 old  leaves  and  2 scollop'd  com- 
potiers for  desert 


103 


APPENDIX 


53  Twelve  desart  plates 

54  Four  Cupids  for  a desart 

55  Two  fine  large  porringers  round  edges 

56  Two  fine  small  basons,  covers  and  plates 

57  Four  small  roses  and  4 leaves  to  ditto  for  desart 

58  A large  beautiful  PERFUME  POT  chased  and  gilt,  enamell'd 
with  flowers  with  a figure  representing  MELEAGER  with  a boar's  head 

59  One  ditto  with  a figure  representing  ATALANTA  and  her  dog 

60  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  in  figures 

61  A fine  small  oval  tureen  and  dish  sprig  handles  enamelled  in 
flowers 

62  Two  small  sauce  boats  and  plates 

63  Two  large  ditto 

64  Eight  tea  cups  and  saucers,  8 handled  cups,  a tea  pot  and  stand, 
a small  slop  bason,  a sugar  bason  and  a cream  ewer  nurl'd 

65  Two  FINE  FIGURES  OF  A RIVER  GOD  AND  A RIVER  GODDESS 

66  Three  small  figures  of  the  Italian  theatre 

67  Four  fine  apples  and  four  leaves  for  a desart 

68  Two  fine  carps  and  2 fine  oval  dishes  to  ditto 

69  Two  large  silver  shaped  sauce  boats  and  plates 

70  An  oval  scollopt  compotier,  4 large  scollopt  ditto,  and  4 heart- 
shaped  ditto  FINE  OLD  PATTERN 

71  Two  small  fig  leaves  and  two  fine  cabbage  lettices 

72  Two  fine  partridges  for  desart 

73  Two  ditto 

74  An  oval  dish  second  size,  2 ditto  third  size,  2 ditto  fourth  size 
scollopt  with  India  plants 

75  Twelve  table  plates  same  pattern 

76  Two  small  sauce  boats  and  plates 

77  Two  figures  of  a shepherd  and  a shepherdess 

78  Two  small  porringers  and  covers 

79  Two  small  round  basons,  covers  and  plates 

80  An  ESPARGNE,  finely  ornamented  with  flowers,  figures.  See . 
on  a glass  stand 

81  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all  straw- 
berry pattern 

82  Three  figures  of  the  Italian  theatre 

83  Two  fine  pierced  baskets  with  handles 

104 


SALE  CATALOGUE  OF  1755 


84  Four  small  melons  for  desart 

85  Four  small  figures  of  the  sciences,  and  2 pomatum  pots 

86  Six  chocolate  cups  and  small  saucers  and  a cream  ewer 

87  Eight  octagon  tea  cups  and  saucers,  and  a tea  pot 

88  A large  scollopt  compotier  green  leaves,  2 large  scollopt  ditto, 
and  two  heartshaped  ditto  old  pattern 

89  One  dish  fourth  size,  and  four  ditto  fifth  size  scollopt  enamell’d 
with  flowers 

90  Two  large  sauce  boats  and  plates 

91  Two  small  ditto 

92  Two  porringers  and  covers 

93  Two  very  beautiful  groupes  of  figures,  one  of  A man  and  a 

woman  with  a bird's  nest,  the  other  its  companion  with  a bird  cage 

94  Two  fine  small  ice  pails  chased 

95  Four  scollopt  compotiers  with  green  leaves  and  4 small  scollopt 

ditto 

96  Eight  small  tea  cups  and  saucers,  8 large  handled  cups,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer,  a plate  and  a 
spoon  boat,  scollopt  with  flowers  and  green  leaves 

97  Two  fine  basket  work  dishes,  and  2 deep  vine  leaf  dishes 

98  Four  small  melons  for  desart 

99  Two  ten  square  basons  of  the  flaming  tortoise  pattern,  and  2 
ditto  butterfly  ditto 

100  Twelve  tea  cups  and  saucers  octagon  in  flowers,  and  a tea  pot 
old  pattern 

101  A figure  of  a nun  reading,  and  2 small  figures  of  the  sciences 

102  Four  small  melons  for  desart 

103  Seven  handled  tea  cups  and  saucers  octagon  in  purple  land- 
skip  and  fables 

104  Four  fine  leaves  and  four  cabbage  lettices 


Tenth  Day's  Sale , Thursday,  March  20 


1 A set  of  five  oval  dishes,  3 sizes  old  pattern 

2 Three  figures  of  the  Italian  theatre,  and  two  pomatum  pots 

3 Eight  small  tea  cups  and  saucers,  a plate  and  a cream  ewer, 
scollopt 

4 A large  scollopt  compotier,  2 star  ditto,  2 heart  shaped  ditto  and 
4 small  silver  shaped  dishes  in  flowers 

5 Four  small  Cupids,  love  in  disguise,  for  desart 

105 


APPENDIX 


6 Two  fine  fig  leaves  and  2 cabbage  lettices  for  ditto 

7 A large  round  dish,  2 ditto  less,  2 oval  ditto,  and  4 sallad  dishes 

8 Twelve  fine  soup  plates 

9 Two  small  sauce  boats  and  plates 

10  Two  ditto 

11  Two  fine  porringers  and  covers  in  flowers  and  gilt  edges 

12  A fine  figure  of  a fisherman,  i ditto  of  an  Indian  prince  and  a 

RELIGIOUS  FIGURE 

1 3 Six  octagon  tea  cups  and  saucers,  a tea  pot  and  stand,  and  a sugar 

dish 

14  An  oval  dish,  2 large  scollopt  compotiers,  and  2 heartshaped 
ditto  FINE  OLD  PATTERN 

15  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
a plate,  all  enamelled  in  birds 

16  Two  octagon  sallad  dishes,  and  2 round  basons  old  japan 
PATTERN 

17  Two  basons  and  covers  with  green  handles 

18  Four  scollopt  compotiers,  and  4 small  ditto  for  desart 

19  Four  fine  apples  for  desart 

20  Four  small  busto's  of  the  seasons,  and  four  swans  for  desart 

21  A fine  small  oval  tureen  and  dish,  sprig  handles  enamelled  with 
flowers 

22  Two  small  sauce  boats  and  plates 

23  Two  quart,  2 pint  and  2 half  pint  mugs 

24  A compleat  set  of  8 tea  cups  and  saucers  with  handles,  eight 
handled  cups  and  8 saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar 
bason,  a cream  ewer,  a plate  and  a spoon  boat,  all  scollopt 

25  Three  figures  of  an  Italian  doctor,  a Chinese  mask,  and  a beggar 

26  A beautiful  large  groupe  and  three  Cupids 

27  Twelve  table  knives  and  forks  3 pronged  mounted  in  silver  in 
a shagreen  case 

28  A beautiful  tureen  in  the  form  of  a HEN  AND  CHICKENS  big 
as  life  in  a fine  dish  ornamented 

29  Twelve  soup  plates  scollopt  old  pattern 

30  Two  small  silver  shaped  sauce  boats  and  plates 

31  Two  porringers  and  covers  gilt  edges 

32  Six  tea  cups  and  saucers,  a tea  pot  and  stand,  a small  slop  bason, 
a sugar  bason,  a cream  ewer,  and  a plate  nurl'd 

33  Eight  octagon  tea  cups  and  saucers,  and  a teapot 

34  Two  large  cabbage  leaves,  and  two  large  melons 

106 


SALE  CATALOGUE  OF  1755 


35  Four  fine  small  melons  for  desart 

36  Two  curious  pierced  baskets  with  handles 

37  Two  fine  figures  playing  on  the  violin  and  the  guitar 

38  Two  exceeding  fine  collyflowers  and  plates 

39  A pair  of  fine  toilet  candlesticks,  with  flowers  and  birds 

40  Two  fine  Eels  and  two  dishes 

41  Six  round  water  cups  and  saucers 

42  Eight  tea  cups  and  saucers,  8 handled  cups  and  saucers,  a slop 
bason,  a sugar  bason,  a cream  ewer,  a plate  and  a spoon  boat  scollopt 

43  Four  small  figures  of  the  sciences,  and  two  small  melons 

44  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
a plate  all  enamell'd 

45  Four  cabbage  leaves,  2 old  leaves  and  2 compotiers  green  leaves 

46  Twelve  desart  plates  old  pattern 

47  Two  fine  large  ice  pails 

48  A large  and  beautiful  BEAKER,  finely  gilt  and  enamell'd 

WITH  BIRDS 

49  Four  oval  dishes  2 sizes  in  flowers 

50  Two  silver  shaped  sauce  boats,  and  plates 

51  Two  quart,  two  pint,  and  two  half  pint  mugs 

*51  A large  high  WHITE  VASE  curiously  embellish'd  with 
laurel  leaves 

52  A fine  large  round  tureen  and  cover  sprig  handles,  and  a dish 

53  Twelve  fine  soup  plates  in  flowers 

54  Four  small  figures  of  the  seasons  for  desart 

55  Six  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason  and  a cream  ewer  octagon  red  pannel  pattern 

56  Two  fine  figures  of  A cobler  and  his  wife 

57  Two  fine  small  basons,  covers  and  plates 

58  Two  fine  ice  pails  enamell'd  in  flowers 

59  A fine  TUREEN  in  the  form  of  a double  pigeon  big  as  the 
life  in  a white  basket  work  dish 

60  Two  very  fine  toilet  candlesticks  with  birds  and  flowers 

61  A curious  small  perfume  pot  supported  by  a fine  figure  of  a 

WOMAN 

62  A double  leaf  dish,  2 vine  leaf  dishes  and  2 scollopt  compotiers 
for  desart 

63  Four  small  sun  flower  leaves  and  4 chickens  for  a desart 

64  Four  small  melons  for  ditto 

107 


APPENDIX 


65  Six  small  figures  love  in  disguise  for  desart 

66  Twelve  fine  desart  plates  chased  in  flowers 

67  Eight  large  tea  cups  with  handles,  and  8 large  saucers,  eight 
small  handled  cups  and  large  saucers,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason,  a cream  ewer,  a plate  and  a spoon  boat,  scollop'd  in  flowers 

68  A pair  of  fine  partridges  for  desart 

69  Ditto 

70  Two  small  fig  leaves,  and  two  cabbage  lettices 

71  Four  fine  artichoaks 

72  Six  octagon  tea  cups  and  saucers,  and  a tea  pot 

73  Ditto 

74  A fine  figure  of  a woman  with  a basket,  one  ditto  of  the  Italian 
theatre  and  a man  dancing 

75  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer, 
and  a plate 

76  A set  of  five  table  dishes  two  sizes  with  India  plants 

77  Two  large  silver  shaped  sauce  boats  and  plates 

78  Four  fine  bustos  of  the  heathen  gods  for  desart,  and  2 fine 
pomatum  pots 

79  Two  quart,  two  pint,  and  two  half  pint  mugs  with  birds 

80  Four  small  ducks  in  different  postures 

81  Four  fine  apples,  and  4 leaves  to  ditto,  for  desart 

82  Ten  fine  desart  plates  scollopt  with  India  plants 

83  Eight  small  cups  and  saucers,  8 large  handle  cups,  a plate  and  a 
cream  ewer,  scollopt 

84  Four  figures  of  the  sciences  for  desart 

85  Ditto 

86  Two  very  fine  figures  of  Juno  and  Minerva,  and  2 small  Cupids 

87  Six  tea  cups  and  saucers,  6 chocolate  cups  and  saucers,  6 handle 
cups,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
a plate,  old  Japan  pattern 

88  Six  chocolate  cups  and  saucers,  a sugar  dish,  and  a cream  ewer, 
the  Chinese  arms 

89  A beautiful  groupe  of  figures  representing  the  rape  of  the  Sabines 

90  A set  for  a chimney  piece  or  a cabinet,  consisting  of  7 JARS  and 
BEAKERS,  beautifully  enamelled  with  flowers,  and  the  beakers 
filled  with  flowers  after  nature 

91  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer 
and  a plate  in  flowers 

108 


SALE  CATALOGUE  OF  1755 


92  An  oval  scollopt  compotier,  2 large  scollopt  ditto,  2 small  scollopt 
ditto,  2 ditto  less,  and  2 heart  shaped  ditto 

93  Four  fine  deep  vine  leaf  dishes  in  flowers 

94  Four  small  roses  and  4 leaves  for  desart 

95  Two  FINE  HARES,  A COW,  A BULL,  A CALF,  AND  A LAMB 

96  Two  fine  porringers  and  covers  gilt  edges 

97  Two  fine  round  basons,  covers  and  plates 

98  Six  small  tea  cups  and  saucers,  6 handled  cups,  a tea  pot  and 
stand,  a slop  bason,  a sugar  bason,  and  a cream  ewer  nurl'd 

99  Two  octagon  bowls  Hob  in  the  well,  and  two  ten  square 

ditto 

100  Four  small  figures  of  the  sciences,  and  2 melons  for  desart 

101  Twelve  tea  cups  and  saucers  octagon  enamelled  in  purple 

102  Four  fine  large  apples  for  desart 

103  Two  small  figures  of  a Chinese,  1 ditto  of  the  sciences,  and  2 
small  melons  for  a desart 

104  Four  fine  leaves  and  4 cabbage  lettices 

105  Ditto 


Eleventh  Day's  Sale , Friday,  March  21 

1 Six  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar 
bason,  and  a cream  ewer 

2 Six  small  figures 

3 A set  of  oval  table  dishes,  3 sizes  old  pattern 

4 Twelve  table  plates  to  ditto 

5 Nine  plates  to  ditto 

6 Two  silver  shaped  sauce  boats  and  plates 

7 Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

8 Two  fine  porringers  with  covers 

9 Two  fine  large  round  basons,  covers  and  plates,  enamelled  in 
flowers 

10  An  oval  compotier,  2 large  ditto,  4 small  ditto,  and  2 heart 
shaped  ditto  for  desart 

11  One  scollopt  compotier,  and  4 heart  shaped  ditto  old  pattern 

12  Four  small  melons  for  desart 

13  A large  and  beautiful  figure  representing  TASTE 

14  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer 
and  a plate  all  old  pattern 

109 


APPENDIX 


15  Five  oval  dishes  finely  enamelled  with  India  plants 

16  Four  leaves  and  4 cabbage  lettices 

17  Two  large  sauce  boats  and  plates  silver  shaped 

18  Two  quart,  two  pint,  and  two  half  pint  mugs  in  flowers 

19  Two  fine  porringers  with  insects 

20  Two  small  basons,  covers  and  plates 

21  Six  round  water  cups  and  saucers 

22  Two  fine  figures,  A man  and  a woman  in  a Turkish  dress 

23  A large  and  beautiful  figure  representing  FEELING 

24  A large  scollopt  compotier,  4 heart  shaped  ditto,  2 large  sun 
flower  leaves,  and  two  cabbage  leaves,  for  desart 

25  Four  old  leaves,  and  2 small  cabbage  leaves  for  ditto 

26  Two  curious  pine  apples  for  desart 

27  Four  small  figures  of  the  seasons  for  desart,  and  two  pomatum 

pots 

28  Eight  tea  cups  and  saucers,  8 handled  cups,  a sugar  bason,  a 
cream  ewer,  a plate,  and  a spoon  boat 

29  A beautiful  groupe  of  3 Cupids 

30  A compleat  set  of  eight  tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
a plate,  all  in  flowers 

31  Four  scollopt  dishes  with  flowers 

32  Two  sauce  boats  and  plates  silver  shaped 

33  Two  fine  small  ice  pails  with  flowers 

34  A large  and  beautiful  figure,  representing  SMELLING 

35  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason  and  a cream  ewer,  octagon 

36  Four  small  figures 

37  Four  small  cabbage  leaves,  and  two  scollopt  compotiers  for 
DESART 

38  Four  small  cabbage  leaves  for  desart 

39  Four  small  melons  for  ditto 

40  Two  fine  candlesticks,  one  representing  Winter,  and  the  other 
Spring 

41  Two  ditto,  Summer  and  Autumn 

42  A large  round  dish,  two  ditto  less,  and  two  oval  ditto  wrought 
pattern 

43  Two  large  sauce  boats  and  plates  silver  shaped 

44  Two  quart,  two  pint,  and  two  half  pint  mugs  in  flowers 

45  Two  fine  large  porringers  and  covers 

no 


SALE  CATALOGUE  OF  1755 


46  Two  round  basons,  covers  and  plates 

47  Four  small  figures 

48  Twelve  tea  cups  and  saucers  and  a tea  pot  and  stand  in  flowers 

49  Ditto 

50  A large  and  beautiful  figure  representing  SEEING 

51  Two  ice  pails,  finely  gilt  and  chased  with  grapes  and  vine 
leaves 

52  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
a plate  strawberry  pattern 

*52  A large  and  curious  TUREEN,  in  the  shape  of  a SWAN 

53  Two  very  fine  carps  and  dishes 

54  Two  sauce  boats  silver  shaped,  and  two  plates  to  ditto  in  flowers 

55  Two  small  cabbage  leaves  and  two  fine  cabbage  lettices 

56  A star  compotier,  4 old  leaves,  and  4 small  silver  shaped  dishes  in 
flowers 

57  Four  fine  large  apples  for  desart 

58  Two  roses  and  two  leaves  for  ditto  and  two  pomatum  pots 

59  A large  oval  dish,  2 ditto  less,  and  2 round  ditto  wrought  pattern 
and  flowers 

60  Two  porringers  and  covers 

61  Two  porringers  and  covers 

62  Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

63  A large  and  beautiful  figure  representing  HEARING 

64  Two  fine  porringers  and  covers,  in  flowers 

65  Two  fine  basons,  covers  and  plates 

66  Six  tea  cups  and  saucers,  6 large  cups,  and  a cream  ewer 
nurl'd 

67  Twelve  desart  knives  and  12  ditto  forks  in  a shagreen  case 

68  Two  fine  small  fig  leaves  and  2 lettices 

69  A fine  tureen  in  the  form  of  a double  PIGEON  big  as  the  life 
in  a fine  basket  work'd  dish 

70  Two  fine  basons  and  covers,  sprig  handles  and  plates 

71  Three  figures  of  the  Italian  theatre  and  1 pomatum  pot 

72  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate 
STRAWBERRY  PATTERN 

73  Two  exceeding  fine  coss  lettices,  and  2 leaves  to  ditto 

74  Two  fine  artichoaks  for  desart 

75  Two  ditto 


hi 


APPENDIX 


76  A most  magnificent  HIGH  JAR  embossed  with  white  flowers 
and  gilt 

77  Eight  tea  cups  and  saucers,  and  a tea  pot 

78  Seven  octagon  handled  cups  and  saucers,  a tea  pot,  a slop  bason, 
a sugar  bason,  and  a cream  ewer 

79  A double  leaf  dish,  2 vine  leaf  dishes,  and  2 scollopt  compotiers 
in  flowers 

80  Three  small  figures  of  the  Italian  theatre 

81  A compleat  set  (for  a chimney  or  a cabinet)  of  7 JARS  and 
BEAKERS  gilt  and  enamelled  with  flowers 

82  A round  tureen  and  cover,  sprig  handles,  and  a dish  to  ditto 
in  purple  flowers 

83  Ten  large  octagon  soup  plates  fine  old  pattern 

84  Two  porringers  and  covers 

85  Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

86  Three  very  fine  musical  figures 

87  Two  fine  partridges,  and  a dish  ornamented  with  corn,  &c. 

88  Ditto 

89  Four  very  fine  ducks 

90  Ditto 

91  Eight  small  tea  cups  and  saucers,  and  6 small  chocolate  cups 
and  saucers  scollopt 

92  A magnificent  perfume  pot,  in  the  form  of  a pigeon  house 
with  pigeons,  a fox,  &c. 

93  A double  leaf  dish,  4 old  leaves,  and  4 scollopt  compotiers 

94  Two  fine  porringers  and  covers  in  flowers  and  gilt  edges 

95  Two  fine  small  round  basons  and  covers 

96  Two  fine  small  ice  pails,  chased  in  flowers 

97  Eight  cups  and  saucers,  a small  slop  bason,  a plate,  a tea  pot,  a 
cream  ewer,  and  a white  sugar  dish 

98  Four  fine  small  melons,  for  desart 

99  Four  fine  apples  ditto 

100  One  large  oval  dish,  and  4 ditto  less,  with  India  plants 

101  Twelve  octagon  tea  cups  and  saucers  of  3 different  patterns 

102  Six  handled  tea  cups  and  saucers,  6 large  ditto,  a tea  pot  and 
stand,  a slop  bason,  a sugar  bason,  a cream  ewer,  a plate  and  a spoon 
boat 

103  A figure  of  a fisherman  with  his  net,  and  2 figures  in  Turkish 
dresses 


112 


SALE  CATALOGUE  OF  1755 

Twelfth  Day's  Sale , Saturday,  March  22 

1 Eight  tea  saucers,  8 coffee  cups,  a slop  bason  and  plate,  a tea  pot 
and  cream  ewer,  and  a white  sugar  dish  and  cover 

2 Twelve  tea  cups  and  saucers  and  a tea  pot 

3 Two  figures  of  a mapseller  and  a carpenter  with  his  tools 

4 Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a sugar  bason,  a slop  bason,  a cream  ewer  and  a plate  in  flowers 

5 A service  of  nine  scollopt  dishes  enamelled  in  flowers 

6 Twelve  fine  table  plates  with  insects 

7 Two  sauce  boats  and  plates  silver  shaped  in  flowers 

8 Two  quart,  2 pint,  and  two  half  pint  mugs 

9 Two  fine  porringers  and  covers,  with  birds 

10  Two  fine  small  basons  and  covers 

1 1 Ditto 

12  Four  small  figures  and  2 lemons 

13  Ditto 

14  A scollopt  fruit  basket  and  4 vine  leaf  dishes 

15  Two  fine  large  cabbage  leaves,  and  2 fine  large  melons  to  ditto, 

FOR  DESART 

16  Four  fine  small  melons,  for  desart 

17  Two  figures  of  a man  and  a woman  playing  on  the  guitar  and 
german  flute 

18  Six  round  water  cups  and  saucers 

19  Twelve  large  cups  and  saucers  and  a large  tea  pot 

20  Ditto 

21  A double  leaf  dish,  2 vine  leaf  dishes,  2 scollopt  compotiers, 
and  4 ditto  old  pattern 

22  Two  small  fig  leaves  and  2 cabbage  lettices 

23  Four  fine  large  roses  and  leaves  for  desart 

24  A fine  round  tureen  and  cover,  sprig  handles,  and  a dish  in  flowers 

25  Eight  damask'd  soup  plates  with  flowers 

26  Two  sauce  boats  and  plates  silver  shaped 

27  Two  ditto  with  green  handles 

28  Six  mugs  of  three  different  sizes 

29  Two  fine  large  porringers  and  covers,  with  flowers 

30  Two  fine  small  basons,  covers  and  plates 

31  Eight  tea  cups  and  saucers  with  handles,  8 handled  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer, 
a plate,  and  a spoon  boat  scollopt 

113 


1 


APPENDIX 


32  Eight  large  tea  cups  and  saucers,  8 large  handled  cups,  a tea 
pot,  a cream  ewer,  and  a plate  same  pattern 

33  A pair  of  curious  toilet  candlesticks  with  birds  and  flowers 

34  Four  small  figures  of  the  arts  standing  on  fine  gilt  pedestals 

35  Ditto 

36  Two  fine  basket  work'd  dishes  with  green  leaves,  and  2 vine 
leaf  dishes  in  flowers  for  desart 

37  Four  small  melons  for  desart 

38  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a sugar  bason,  a slop  bason,  a cream  ewer,  and  a plate,  all  in 
flowers 

39  Ditto 

40  Two  large  sauce  boats  and  plates,  with  green  handles 

41  Ditto 

42  Two  very  fine  large  ice  pails 

43  A very  fine  tureen  in  the  form  of  a RABBIT  big  as  life,  in  a 
fine  oval  dish 

44  Two  large  sauce  boats  and  plates  green  handles 

45  Ditto 

46  Six  figures,  love  in  disguise,  for  desart 

47  Four  small  Cupids  for  ditto,  and  two  lemons 

48  A double  leaf  dish,  2 large  sunflower  leaves  and  2 small  cabbage 
leaves  for  desart 

49  Four  fine  deep  vine  leaf  dishes 

50  Ditto 

51  Twelve  octagon  tea  cups  and  saucers  in  purple 

52  Ditto 

*52  A large  and  beautiful  WHITE  VASE  curiously  decorated 
and  embossed  with  laurel  leaves 

53  Two  fine  round  pierced  baskets  with  handles 

54  Two  very  fine  collyflowers  and  2 plates  to  ditto 

55  Six  round  water  cups  and  saucers  in  flowers 

56  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all 
enamell’d  with  birds 

57  A compleat  set  ditto  of  the  strawberry  pattern 

58  A set  of  5 round  scollopt  table  dishes  enamell'd  in  flowers 

59  Eight  damask'd  table  plates  with  flowers 

60  Two  large  sauce  boats  and  plates  green  handles 

61  Two  small  ditto 


SALE  CATALOGUE  OF  1755 


62  Two  quart,  two  pint,  and  two  half  pint  mugs  old  stork  pattern 

63  Two  fine  porringers  and  covers  with  insects 

64  Two  fine  round  basons,  covers  and  plates 

65  Ditto 

66  Two  fine  Eels  and  2 dishes  to  ditto 

67  Two  large  sauce  boats  and  2 plates 

68  Ditto 

69  Four  fine  ducks  for  desart 

70  Four  fine  deep  vine  leaf  dishes  for  desart 

71  Two  fine  round  pierced  baskets  with  two  handles 

72  Twelve  scollopt  desart  plates  curiously  enamell'd  with  exotick 
plants 

73  Four  fine  artichoaks  for  desart 

74  Eight  tea  cups  and  saucers,  8 chocolate  cups  and  saucers  and  a 
cream  ewer  scollopt 

75  Eight  octagon  tea  cups  and  saucers,  a tea  pot  and  a sugar  bason 
old  sprig  pattern 

76  Two  figures  after  Teniers,  2 dogs  and  2 pomatum  pots 

77  Four  fine  apples  for  desart 

78  Ditto 

79  Four  fine  oval  dishes  fifth  size,  scollopt  and  flowers 

80  One  large  and  4 smaller  round  dishes  the  same  pattern 

81  A very  fine  PERFUME  POT  with  three  little  Cupids  gather- 
ing flowers 

82  Two  fine  figures  of  a cobler  and  his  wife 

83  A fine  basket  work'd  dish  with  green  leaves,  4 fine  scollopt 
dishes  with  green  handles,  and  four  smaller  ditto  for  desart 

84  Twelve  desart  plates  finely  chased  with  flowers 

85  Two  small  fig  leaves  and  two  cabbage  lettices 

86  Four  small  melons  for  desart 

87  Four  small  figures  of  Cupids  for  desart  and  two  lemons 

88  Two  PARTRIDGES 

89  Ditto 

90  Two  fine  carps  and  two  dishes  to  ditto 

91  Two  small  sauce  boats  and  plates 

92  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  enamell'd 
WITH  FLOWERS 

93  Four  dishes  fifth  size,  wrought  pattern,  in  landskip  and  gilt 
edges 

ii5 


APPENDIX 


94  Twelve  fine  table  plates  to  ditto 

95  Two  quart,  two  pint,  and  two  half  pint  mugs 

96  Two  fine  large  porringers  and  covers  with  birds 

97  Two  fine  large  basons  and  covers  and  plates 

98  Six  tea  cups  and  saucers  with  handles,  six  handled  cups  scollopt 
and  a cream  ewer 

99  Nine  fine  scollopt  compotiers  for  desart  of  different  shapes 
and  patterns 

100  Four  figures  of  the  sciences  and  two  lemons 

101  Two  porringers  and  covers  enamell'd  in  flowers 

102  Ten  large  octagon  chocolate  cups  and  saucers,  wheatsheaf 

AND  PHEASANT 

103  Two  figures  of  the  seasons,  two  ditto  of  the  arts  and  two  ditto 
of  the  Chinese  standing 

104  Four  leaves  and  four  cabbage  lettices 

105  Ditto 


Thirteenth  Day's  Sale , Monday,  March  24 

1 Four  small  figures  of  the  sciences  and  2 lemons 

2 Eight  tea  cups  and  saucers,  a small  bason,  a sugar  bason  and  a 
plate  nurl'd  open  partridge 

3 One  old  leaf  bason  and  plate,  and  4 compotiers  with  green  leaves 

4 Four  fine  large  apples,  for  desart 

5 Two  small  fig  leaves  and  2 cabbage  lettices 

6 Eight  tea  cups  and  saucers,  8 chocolate  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  plate  nurl'd 
old  pattern 

7 A fine  figure  of  a fisherman  with  a basket  on  his  back,  and  2 
ditto  of  the  Italian  theatre 

8 Two  oval  dishes,  and  1 small  round  ditto  wrought  pattern 
enamell'd  in  landskip,  <$cc. 

9 Two  large  sauce  boats  and  plates 

10  Two  quart,  2 pint,  and  2 half  pint  mugs 

11  Two  fine  porringers  scollopt  edges  and  covers  with  birds 

12  Two  fine  small  round  basons,  covers  and  plates 

13  A large  sun  flower  leaf,  2 small  ditto  and  2 chickens,  a fig  leaf, 
a small  oval  dish  and  2 small  ditto 

14  A set  of  8 tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all 
in  flowers 

116 


SALE  CATALOGUE  OF  1755 


15  A curious  groupe  of  a man  and  woman  dancing 

16  Eight  small  caudle  cups  and  saucers  nurl'd  in  flowers  and  2 
pomatum  pots 

17  Two  very  fine  large  ice  pails,  i with  insects  and  the  other  in 
flowers 

18  Two  fine  scollopt  dishes  with  flowers  and  2 basons  old  japan 
pattern 

19  Twelve  octagon  tea  cups  and  saucers  and  a tea  pot 

20  Four  small  figures  of  the  sciences  and  2 lemons  for  desart 

21  Ditto 

22  Eight  tea  cups  and  saucers,  8 coffee  cups,  a tea  pot  and  stand,  a 
slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all  in  flowers 

23  Two  fine  small  ice  pails  in  flowers 

24  A pair  of  very  fine  toilet  candlesticks  with  birds  and  flowers 

25  An  old  leaf  bason  and  plate,  4 compotiers,  wheat  sheaf  and 

PHEASANT 

26  Four  fine  deep  vine  leaf  dishes  with  flowers 

27  Four  small  melons  for  desart 

28  Four  large  roses  and  4 leaves 

29  Two  beautiful  Colly-flowers  and  plates 

30  Six  round  water  cups  and  saucers  in  flowers 

31  Four  figures  of  2 men  and  2 women  playing  on  different  instru- 
ments 

32  A beautiful  small  oval  tureen  and  dish  sprig  handles  and 
flowers 

33  Two  large  sauce  boats  and  plates  green  handles  and  flowers 

34  Two  quart,  2 pint,  and  2 half  pint  mugs  with  birds  and  flowers 

35  Two  porringers  and  covers  gilt  and  enamell'd  with  insects 

36  Two  fine  basons  with  covers  and  plates 

37  A set  of  8 tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
pot  and  stand,  a sugar  bason,  a slop  bason,  a cream  ewer  and  a plate,  all 
enamell'd  in  flowers 

38  A service  of  5 table  dishes  scollopt  with  India  plants 

39  Two  small  sauce  boats  and  plates 

40  Two  quart,  2 pint,  and  2 half  pint  mugs 

41  Two  porringers  and  covers  gilt  edges 

42  Two  fine  small  basons,  covers  and  plates,  strawberry  pattern 

43  Two  small  figures  after  Teniers  and  2 Chinese  figures 

44  A double  leaf  dish,  2 large  sun  flower  leaves  and  2 small  cabbage 
leaves 


117 


APPENDIX 


45  Four  fine  small  melons 

46  Two  fine  pine  apples 

47  Eight  fine  desart  plates  scollopt  with  flowers 

48  Six  small  tea  cups  and  saucers,  6 large  chocolate  cups  and  saucers, 
a small  tea  pot  and  stand,  a sugar  bason  and  a cream  ewer  nurl'd  in  flowers 

49  Four  small  Cupids  and  2 lemons  for  desart 

50  Two  fine  Eels  and  2 fine  dishes  to  ditto 

*50  A curious  large  TUREEN  in  the  shape  of  a SWAN 

51  Two  large  sauce  boats  and  plates 

52  A set  of  8 tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  all 
in  flowers 

53  A magnificent  Perfume  Pot  finely  chased  and  gilt,  with  a figure 
representing  MELEAGER  and  the  boar's  head 

54  One  ditto  representing  ATALANTA  and  her  dog 

55  Two  fine  figures  of  A river  god  and  Leda  on  a dolphin 

56  A fine  round  tureen  and  cover  sprig  handles  in  flowers,  and  a 
dish  to  ditto 

57  Two  quart,  2 pint,  and  2 half  pint  mugs  finely  enamell'd  with 
insects 

58  Two  fine  porringers  and  covers  in  flowers 

59  A double  leaf  dish,  4 old  ditto  in  flowers  and  4 scollopt  com- 
potiers  green  leaves 

60  Twelve  fine  desart  plates  scollopt  in  flowers 

61  Two  small  figures  of  the  arts,  a fidler  and  2 pomatum  pots 

62  Eight  small  tea  cups  and  saucers,  octagon  in  flowers,  and  a tea 
pot  in  fables 

63  Four  dishes  scollopt  in  flowers 

64  A fine  tureen  in  the  form  of  a double  PIGEON  big  as  the 
LIFE,  and  a basket  work'd  dish 

65  Two  small  sauce  boats  and  2 plates 

66  Two  beautiful  groupes  of  figures,  a man  and  woman  with  a 
bird's  nest,  and  its  companion  with  a bird  cage 

67  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a sugar  bason,  a slop  bason,  a cream  ewer  and  a plate, 
in  flowers 

68  Four  small  figures  and  2 lemons 

69  Two  fine  large  ice  pails  chased  in  flowers 

70  Two  fine  small  fig  leaves  and  2 cabbage  lettices 

71  Two  fine  coss  lettices  and  leaves 

72  Twelve  fine  desart  plates  scollopt  in  flowers 

118 


SALE  CATALOGUE  OF  1755 


73  Six  tea  cups  and  saucers,  a tea  pot  and  stand,  a small  slop  bason, 
a sugar  bason,  a cream  ewer  and  a plate  nurl'd 

74  Twelve  octagon  tea  cups  and  saucers  enamell'd  with  purple 
landskip 

75  Two  fine  partridges  for  desart 

76  Two  ditto 

77  A set  of  5 table  dishes  in  sizes  scollopt  and  India  plants 

78  Two  small  sauce  boats  and  plates 

79  Two  porringers  and  covers,  with  flowers  and  gilt  edges 

80  Two  fine  small  basons,  covers  and  plates 

81  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all 
in  flowers 

82  Two  fine  basket  work'd  dishes  with  green  leaves  and  2 vine 
leaf  deep  dishes  in  flowers 

83  Four  small  roses  and  4 leaves  for  desart 

84  Four  fine  apples  for  ditto  and  4 leaves 

85  Twelve  fine  desart  plates  India  plants 

86  Two  beautiful  figures  playing  on  the  german  flute  and  tabor 
and  pipe 

87  Four  small  figures  and  2 lemons 

88  A fine  tureen  in  the  form  of  a HEN  and  CHICKEN  as  big  as 
the  life  in  a dish  properly  ornamented 

89  Two  small  sauce  boats  and  plates 

90  Two  fine  large  porringers  and  covers  in  flowers 

91  Two  large  round  basons  and  covers  sprig  handles 

92  Six  round  water  cups  and  saucers  in  flowers 

93  Eight  large  octagon  tea  cups  and  saucers,  a sugar  bason  in  flowers 
and  a tea  pot  ditto  in  landskip 

94  Ditto 

95  A set  of  5 oval  dishes  old  pattern 

96  Two  large  sauce  boats  and  plates 

97  Two  ditto  SMALLER 

98  Four  fine  ducks  in  different  postures 

99  A small  oval  dish,  1 round  ditto,  1 scollopt  ditto,  a sallad  dish 
and  a bason 

100  Four  fine  apples  for  desart 

1 01  Eight  tea  cups  and  saucers,  a sugar  bason  and  a plate  nurl'd 
partridge  pattern 

102  Two  figures  playing  on  the  german  flute  and  guitar 

119 


APPENDIX 


103  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a small  slop 
bason,  a sugar  bason  and  plate,  nurl’d 

104  Four  fine  leaves,  and  4 cabbage  lettices 

105  Ditto 

Fourteenth  Day's  Sale , Tuesday,  March  25 

1 Six  large  chocolate  cups  and  saucers  and  a cream  ewer 

2 Eight  octagon  tea  cups  and  saucers,  a sugar  bason  and  a tea  pot 

3 Four  small  figures  and  2 perfume  pots 

4 A set  of  5 table  dishes  in  sizes,  with  India  plants 

5 Two  fine  porringers  and  covers  enamelled  in  birds 

6 Two  ditto  larger 

7 A set  of  8 tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer  and  a plate,  all  in  flowers 

8 Two  fine  figures  of  A cobler  and  his  wife 

9 Twelve  octagon  tea  cups  and  saucers  and  a small  tea  pot 

10  Ditto 

11  Four  old  leaves  and  a scollopt  compotier 

12  Four  deep  vine  leaf  dishes  in  flowers 

13  Four  small  melons  for  desart 

14  Four  ditto 

15  Two  fine  partridges 

16  Two  fine  large  artichoaks 

17  Two  ditto 

18  Twelve  desart  plates  scollopt  in  flowers 

19  Four  bustos  of  the  heathen  gods,  and  2 lemons 

20  Four  ditto  and  2 pomatum  pots 

21  Eight  large  tea  cups  and  saucers,  and  a small  tea  pot,  octagon, 
old  sprig  pattern 

22  Ditto 

23  A fine  round  tureen  and  dish  in  flowers 

24  Two  large  sauce  boats  and  plates 

25  Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

26  Two  porringers,  with  birds 

27  Two  ditto  less 

28  Two  fine  basons  with  covers  and  plates 

29  A set  of  8 tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a 
tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer,  and  a plate 
IN  FLOWERS 


120 


SALE  CATALOGUE  OF  1755 


30  Eight  chocolate  cups  and  saucers,  8 handled  cups,  a slop  bason, 
and  a white  sugar  bason  and  cover  nurl'd  old  pattern 

31  Six  chocolate  cups  and  saucers,  a small  slop  bason,  and  a white 
sugar  bason  and  cover,  same  pattern 

32  Four  scollopt  table  dishes  of  two  sizes,  with  India  plants 

33  Twelve  fine  desart  plates  same  pattern 

34  Two  small  sauce  boats  green  handles  and  plates 

35  Two  porringers  and  covers  gilt  edges 

36  Two  ditto 

37  Two  fine  fig  leaves  and  two  lettices 

38  Two  fine  colly-flowers  and  plates 

39  Two  pierced  baskets  with  two  handles 

40  A figure  of  a nurse  and  child,  2 ditto  of  the  Italian  theatre,  and 
2 perfume  pots 

41  A fine  figure  of  a woman  with  a basket,  and  2 small  figures  with 
scollop  shells 

42  Two  beautiful  perfume  pots,  chased,  gilt,  and  enamelled  in 
flowers 

43  Two  fine  EELS  and  dishes  to  ditto 

44  Two  large  sauce  boats  and  plates 

45  Four  small  sun  flower  leaves,  and  4 chickens  for  desart 

46  Four  large  roses  and  leaves 

47  Six  beautiful  figures,  love  in  disguise 

48  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  nurl'd 
in  flowers 

49  One  set  ditto  round,  enamelled  in  flowers 

50  One  large,  and  4 smaller  table  dishes  wrought  and  gilt 
edges 

51  Two  small  sauce  boats  and  plates 

52  A fine  tureen  in  the  form  of  a double  PIGEON  big  as  life  in 
a basket  work'd  dish 

53  Two  porringers  and  covers  in  birds 

54  Two  fine  partridges  for  desart 

55  Two  ditto 

56  Two  dishes  to  ditto  ornamented  with  corn,  &c. 

57  Six  round  water  cups  and  saucers  in  flowers 

58  Two  exceeding  fine  candlesticks,  one  representing  Winter  and 
the  other  Spring 

59  Two  ditto  Summer  and  Autumn 

121 


APPENDIX 


60  Six  small  tea  cups  and  saucers,  6 handled  cups,  a tea  pot  and 
stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  nurl’d  old 
pattern 

6 1 Six  octagon  tea  cups  and  saucers,  and  a tea  pot 

62  A beautiful  high  BEAKER  enamelled  with  birds  of  dif- 
ferent sorts,  and  richly  gilt 

63  Four  fine  old  leaves,  and  2 small  cabbage  leaves  for  desart 

64  Four  fine  deep  vine  leaf  dishes 

65  Four  fine  apples  and  4 leaves 

66  Twelve  fine  desart  plates  in  flowers 

67  Two  fine  partridges  for  desart 

68  Three  fine  small  ducks 

69  Four  small  Cupids  and  2 lemons 

70  A curious  large  groupe  of  3 Cupids 

71  Eight  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate  round 
STRAWBERRY  PATTERN 

72  Six  tea  cups  and  saucers,  2 large  handled  cups  and  saucers,  2 
chocolate  cups  and  saucers,  and  an  octagon  tea  pot 

73  Two  fine  large  ice  pails  in  flowers 

74  Two  small  ditto  with  birds 

75  Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

76  Two  large  porringers  and  covers  in  flowers 

77  Two  ditto 

78  Three  small  figures  and  2 melons  for  desart 

79  A figure  of  a woodcutter,  and  2 ditto  of  2 men  drinking 

80  A fine  oval  tureen  and  dish  sprig  handles  and  flowers 

81  Two  fine  carps  and  dishes 

82  A double  leaf  dish,  4 old  leaves,  and  4 compotiers  green 
leaves 

*82  Four  fine  vine  leaf  dishes  in  flowers 

83  Four  small  melons  for  desart 

84  Two  small  fig  leaves  and  2 cabbage  lettices 

85  A set  of  7 beautiful  jars  and  beakers  finely  enamelled  in  flowers 
and  gilt,  for  a chimney  or  cabinet 

86  Two  beautiful  figures  of  a shepherd  and  shepherdess 

87  A large  round  dish,  2 ditto  smaller,  and  2 oval  ditto,  wrought 
pattern  and  flowers 

88  Four  small  figures  of  the  seasons 

89  Ditto 


122 


SALE  CATALOGUE  OF  1755 


go  A beautiful  tureen  in  the  form  of  a BOAR'S  HEAD,  in  a most 
curious  dish,  with  proper  embellishments 

91  A pair  of  fine  large  ice  pails  chased  with  grapes  and  vine  leaves 
gilt 

92  Two  small  ditto  enamelled  with  birds 

93  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a sugar  bason,  a slop  bason,  a cream  ewer  and  a plate,  all  in 
flowers 

94  Two  fine  large  porringers  and  covers,  scollopt  edges  and  gilt 

95  Two  fine  figures  of  fishermen  with  2 different  nets 

96  Two  fine  pine  apples  for  desart 

97  Ditto 

98  Four  fine  ducks  in  different  postures 

99  Twelve  desart  plates  scollopt  in  flowers 

100  Two  fine  EELS  and  2 dishes  to  ditto 

101  Two  fine  round  basons,  covers  and  plates,  old  strawberry 
pattern 

102  Six  round  water  cups  and  saucers  in  flowers 

103  Twelve  tea  cups  and  saucers,  a sugar  bason,  a cream  ewer  and 
plate  nurl'd  partridge  pattern 

104  Six  scollopt  saucers,  6 tea  cups,  7 chocolate  cups  and  saucers, 
a small  slop  bason,  a plate,  a tea  pot  and  stand,  a ewer,  and  a white  sugar 
dish  and  cover 

105  A pair  of  fine  toilet  candlesticks  with  birds  and  flowers 

106  A fine  groupe  of  a man  and  woman  dancing 

107  Two  fine  artichoaks 

108  Ditto 

109  Eight  octagon  tea  cups  and  saucers,  and  a tea  pot,  sprig  pattern 

no  Ditto 


Fifteenth  Day's  Sale , Wednesday,  March  26 

1 Six  octagon  cups  and  saucers  and  a tea  pot 

2 Six  octagon  tea  cups  and  saucers,  a tea  pot  and  stand,  and  a sugar 
bason 

3 Four  small  figures  of  the  sciences,  and  2 pomatum  pots 

4 A nurse  and  child,  2 small  figures  and  two  melons 

5 Three  dishes  and  8 plates  wrought  pattern  in  landskip 

6 Two  small  porringers  and  covers  enamell'd  with  birds 

123 


APPENDIX 


7 A set  of  8 tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all 
in  flowers 

8 Four  old  leaves  in  flowers  and  two  small  cabbage  leaves  for  desart 

9 Nine  fine  old  leaves  in  flowers 

10  Four  beautiful  large  apples  for  desart 

11  Four  fine  small  melons  for  desart 

12  Four  small  figures  love  in  disguise  and  2 perfume  pots 

13  Eight  octagon  tea  cups  and  saucers,  a tea  pot,  and  a sugar  bason 

14  Ditto 

15  Two  fine  Eels  and  two  dishes 

16  Two  small  sauce  boats  and  plates 

17  Two  basons,  covers  and  plates 

18  Three  small  figures  of  the  Italian  theatre 

19  Three  ditto,  and  2 pomatum  pots 

20  A large  round  dish,  2 ditto  less,  and  2 oval  ditto  wrought 
pattern  and  flowers 

21  Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

22  Six  water  cups  and  saucers  in  flowers 

23  Two  beautiful  figures  playing  on  the  violin  and  guitar 

24  Two  fine  large  ice  pails  in  flowers 

25  Eight  octagon  tea  cups  and  saucers,  a tea  pot  and  a sugar  bason 

26  Six  small  and  1 large  saucers,  6 tea  cups,  a slop  bason  and  a 
plate,  a tea  pot  and  a cream  ewer,  and  a white  sugar  dish  and  cover 

27  A fine  basket  work’d  dish  with  leaves,  and  4 oval  compotiers  in 
flowers 

28  Twelve  desart  plates  scollopt  in  flowers 

29  Four  small  roses  and  leaves  for  desart 

30  Two  small  fig  leaves  and  two  lettices 

31  Two  fine  coss  lettices  and  two  leaves 

32  Eight  tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea  pot 
and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all  in 
flowers 

33  Three  small  figures  of  the  Italian  theatre 

34  Ditto  and  two  pomatum  pots 

35  A fine  small  oval  tureen  and  dish  sprig  handles 

36  Two  large  sauce  boats  and  plates 

37  Two  quart,  two  pint,  and  two  half  pint  mugs 

38  Two  large  porringers  and  covers 

39  Two  ditto 


124 


SALE  CATALOGUE  OF  1755 


40  Two  fine  Eels  and  two  dishes 

41  A fine  groupe  of  figures,  Pantaloon  and  Columbine 

42  Eight  octagon  tea  cups  and  saucers,  and  a tea  pot 

43  Ditto 

44  A large  round  dish,  2 ditto  lesser,  and  2 oval  ditto  wrought 
pattern  in  flowers 

45  A fine  large  wrought  pattern  compotier,  and  four  less  with 
birds 

46  Four  fine  large  apples  and  leaves  for  desart 

47  Four  fine  artichoaks  for  desart 

48  Twelve  desart  plants  finely  enamell'd  with  India  plants 

49  A set  of  8 tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a tea 
pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate,  all 
in  flowers 

*49  A very  fine  large  HIGH  VASE  decorated  with  laurel  leaves 

50  Two  large  porringers  and  covers  with  insects 

51  Two  fine  basons  with  covers  and  plates 

52  A beautiful  round  inkstand  compleat  in  flowers 

53  A most  magnificent  PERFUME  POT  ornamented  with  sett- 
ing dog  and  rabbits  chased  and  gilt 

54  Four  small  sunflower  leaves  and  4 chickens  for  desart 

55  Four  small  melons  for  ditto 

56  A most  neautiful  large  high  JAR,  embossed  with  white  flowers 
and  RICHLY  GILT 

57  Two  fine  porringers  and  covers  with  insects  and  gilt  edges 

58  Ditto 

59  A set  of  8 tea  cups  and  saucers,  8 coffee  cups  and  saucers,  a 
tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate, 
all  in  flowers 

60  Five  dishes  of  two  sizes  India  plants 

61  Ten  DESART  PLATES  TO  DITTO 

62  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a small  slop 
bason,  a sugar  bason  and  a plate 

63  A fine  tureen  in  the  form  of  a Hen  and  CHICKENS  big  as 
the  life  and  a dish  properly  ornamented 

64  A large  fine  scollopt  dish  with  a green  handle  and  4 small  ditto 
FOR  DESART 

65  Four  fine  deep  vine  leaf  dishes  in  flowers 

66  Two  fine  artichoaks  for  desart 

67  Ditto 

68  Four  small  ducks  in  different  postures 

125 


APPENDIX 


69  Two  fine  small  ice  pails  enamell'd  in  flowers 

70  Two  ditto  larger 

71  Ten  tea  cups  and  saucers,  a tea  pot  and  stand,  a sugar  bason 
and  a cream  ewer  nurl'd 

72  Six  tea  cups  and  saucers,  a tea  pot  and  stand,  a sugar  bason  and 
a cream  ewer 

73  Two  fine  carps  and  2 dishes  to  ditto 

74  Two  fine  large  basons,  covers  and  plates 

75  Two  small  sauce  boats  and  plates 

76  Four  small  musical  figures 

77  An  EPARGNE  finely  ornamented  with  flowers,  figures,  <$cc. 
on  a glass  stand 

78  Two  fine  basket  work'd  dishes  and  2 deep  vine  leaf  dishes  for 
desart 

79  Two  fine  cabbage  leaves  and  2 large  melons 

80  Twelve  desart  plates  in  flowers  scollop'd 

81  Six  small  figures  of  love  in  disguise 

82  Six  small  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason, 
a sugar  bason,  a cream  ewer  and  plate  nurl'd 

83  Eight  tea  cups  and  saucers,  a tea  pot,  a slop  bason,  a sugar  bason, 
a cream  ewer  and  a plate  nurl'd 

84  Two  quart,  2 pint,  and  2 half  pint  mugs  in  flowers 

85  Two  fine  porringers  with  covers  and  gilt  edges 

86  Two  large  ditto  brown  edges 

87  Two  fine  large  ice  pails  in  flowers 

88  Two  ditto 

89  Four  large  pine  apples 

90  Two  small  fig  leaves  and  2 small  cabbage  lettices 

91  A compleat  set  for  a chimney  piece,  consisting  of  7 fine  jars 
and  beakers,  beautifully  painted  with  flowers  and  gilt 

92  Two  figures  of  a shepherd  and  a shepherdess 

93  Six  tea  cups  and  saucers,  a tea  pot,  a slop  bason,  a sugar  bason, 
a cream  ewer  and  plate  nurl'd 

94  Eight  tea  cups  and  saucers,  a tea  pot  and  stand,  a slop  bason,  a 
sugar  bason,  a cream  ewer  and  a plate 

95  A pair  of  fine  toilet  candlesticks  with  birds  and  flowers 

96  A fine  TUREEN  in  the  form  of  a double  PIGEON  as  big  AS 
life  and  a white  basket  work’d  dish  to  ditto 

97  Two  fine  large  artichoaks  for  desart 

98  Two  fine  pine  apples  for  ditto 

126 


SALE  CATALOGUE  OF  1755 


99  Twelve  desart  plates  in  flowers 

100  Eight  tea  cups  and  saucers,  7 handle  cups,  a tea  pot  and  stand, 
a sugar  bason,  a slop  bason  and  a cream  pot 

101  Four  fine  leaves  and  4 cabbage  lettices 

102  Four  curious  coss  lettices  and  4 leaves 


Sixteenth  and  last  Day's  Sale , Thursday,  March  27 

1 Eight  cups  and  saucers,  and  a tea  pot 

2 A round  dish  3d  size , 2 ditto  5th  size,  and  2 oval  ditto  5th  size, 
wrought  pattern  in  flowers 

3 Two  large  sauce  boats  and  plates 

4 Two  large  porringers  and  covers 

5 Four  fine  deep  vine  leaf  dishes 

6 Six  round  water  cups  and  saucers 

7 Two  fine  pine  apples  for  desart 

8 Two  small  artichoaks  for  ditto 

9 Twelve  fine  desart  plates  in  flowers 

10  Six  tea  cups  and  saucers,  6 coffee  cups  and  saucers,  a tea  pot  and 
stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate 

11  Two  small  ice  pails,  enamelled  with  birds 

12  A fine  round  tureen,  cover  and  dish,  sprig  handles  and  flowers 

13  Pantaloon  and  Columbine  finely  grouped 

14  Six  cups  and  saucers,  6 chocolate  cups,  a tea  pot  and  stand,  a 
small  slop  bason,  and  a plate,  all  different  patterns,  and  a white  sugar 
dish  and  cover 

15  Eight  nurl'd  saucers,  6 cups,  5 handled  cups,  a tea  pot  and  stand, 

a cream  ewer,  and  a white  sugar  dish 

16  Two  fine  large  ice  pails  chased 

17  Two  SMALL  DITTO 

18  Two  quart,  2 pint,  and  2 half  pint  mugs 

19  Two  fine  basons,  covers  and  plates 

20  Six  water  cups  and  saucers  scollopt  edges 

21  A fine  tureen  in  the  form  of  a HEN  and  CHICKENS  big  as  life 
and  a dish  properly  ornamented 

22  Two  large  sauce  boats  and  plates 

23  Two  fig  leaves  and  2 cabbage  lettices 

24  A compleat  set  of  tea  cups  and  saucers,  6 coffee  cups  and  saucers, 

a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and  a plate, 

FINELY  ORNAMENTED  WITH  birds 


127 


APPENDIX 


25  A fine  basket  work'd  dish,  with  green  leaves,  and  4 oval  com- 
potiers 

26  A pair  of  exceeding  fine  toilet  candlesticks,  with  birds  and 
flowers 

27  Two  porringers  and  covers  gilt  edges 

28  Two  fine  large  basons,  covers  and  plates 

29  Two  small  sauce  boats  and  plates 

30  Four  small  roses  and  leaves  for  desart 

31  Four  apples  and  leaves  for  ditto 

32  A large  round  dish,  2 ditto  less  and  an  oval  ditto,  wrought  pattern 

33  Two  small  sauce  boats  and  plates 

34  A curious  groupe  of  figures  representing  Europe  and  Asia 

35  Two  ditto  Africa  and  America 

36  A compleat  set  of  6 tea  cups  and  saucers,  6 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer 
and  a plate,  enamell’d  with  birds 

37  A compleat  ink  stand  enamell’d  in  flowers 

38  Two  fine  partridges 

39  Ditto 

40  Four  small  figures  of  Cupids 

41  A fine  small  oval  tureen  and  dish  sprig  handles 

42  Two  small  ice  pails 

43  Two  large  sauce  boats  and  plates 

44  A curious  perfume  pot  with  3 Cupids  in  flowers 

45  Two  fine  large  artichoaks  for  desart 

46  Four  fine  ducks 

47  Two  ice  pails  in  flowers 

48  Two  groupes  of  figures,  a man  and  a woman  with  a bird’s  nest, 
and  its  companion  with  a bird  cage 

49  Two  fine  colly-flowers  and  2 leaves  to  ditto 

50  Two  fine  round  pierced  baskets  with  handles 

51  A basket  work’d  dish  with  green  leaves,  2 wrought  dishes  and 
2 oval  compotiers 

52  A very  curious  TUREEN  in  the  form  of  two  fighting  cocks 
big  as  the  life 

53  Twelve  fine  soup  plates  wrought  pattern  figures  and  landskip 

54  Two  fine  cabbage  lettices  and  leaves 

55  Four  coss  lettices  and  leaves 

56  A most  beautiful  HIGH  JARR,  enamell’d  with  flowers 
and  richly  gilt 


128 


SALE  CATALOGUE  OF  1755 


57  Twelve  fine  desart  plates  chased  in  flowers 

58  Six  fine  figures  love  in  disguise 

59  Two  small  ice  pails  in  flowers 

60  Two  quart,  2 pint,  and  2 half  pint  mugs 

61  Two  porringers  with  gilt  edges 

62  Six  water  cups  and  saucers  scollopt  edges 

63  Four  fine  cabbage  lettices  and  leaves 

64  A groupe  of  a man  and  woman  with  a bird's  nest 

65  A fine  tureen  in  the  form  of  a double  pigeon  in  a basket  work'd 

dish 

66  A large  and  magnificent  LUSTRE  beautifully  ornamented 
with  FIGURES  and  CURIOUS  FLOWERS  in  a superb  taste 

67  Two  fine  musical  figures 

68  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
plate,  enamell'd  in  birds 

69  Four  very  fine  apples 

70  Four  round  dishes  wrought  pattern  gilt  and  enamelled  in 
landskip  and  figures 

71  A large  round  TUREEN,  COVER  and  DISH,  of  an  exceed- 
ing rich  BLUE  ENAMEL,  with  gold  flowers,  &c. 

72  Twelve  SOUP  PLATES  to  ditto 

73  Twelve  TABLE  PLATES  to  ditto 

74  Eight  fine  water  cups  and  saucers  with  birds 

75  Four  fine  coss  lettices  and  leaves  to  ditto 

76  A man  and  woman  with  a bird's  nest  finely  grouped 

77  An  oval  tureen  and  dish  in  flowers 

78  Two  porringers  and  covers  with  insects 

79  Two  fine  carps  and  2 dishes  to  ditto 

80  Two  fine  large  artichoaks 

81  Two  very  fine  colly-flowers  and  plates 

82  Two  fine  cabbage  leaves  and  two  melons 

83  Six  tea  cups,  nine  scollopt  saucers,  7 cups  with  handles,  a slop 
bason,  a plate,  a stand,  a teapot,  a cream  ewer  and  a white  sugar  dish 
and  cover 

84  A curious  figure  of  A woman  holding  a perfume  pot 

85  A round  tureen  and  dish  enamell'd  in  flowers 

86  Twelve  fine  scollopt  soup  plates 

87  Four  fine  artichoaks 

88  Twelve  desart  plates  wrought  pattern  in  flowers 

129 


K 


APPENDIX 


89  Two  fine  figures  of  a river  god  and  goddess 

90  A set  of  seven  JARS  and  BEAKERS  very  finely  enamelled 
and  the  beakers  richly  fill'd  with  curious  flowers 

91  Four  fine  artichoaks  for  desart 

92  Four  fine  coss  lettices  and  leaves 

93  Two  fine  figures  of  fishermen  with  nets 

94  A compleat  set  of  8 tea  cups  and  saucers,  8 coffee  cups  and 
saucers,  a tea  pot  and  stand,  a slop  bason,  a sugar  bason,  a cream  ewer  and 
a plate,  enamell'd  in  figures 

95  A groupe  of  figures  of  a man  and  woman  dancing 

96  Ditto 

97  A large  round  tureen  and  dish  enamell'd  in  flowers 

98  Six  fine  soup  plates 

99  Two  musical  figures  of  a man  and  a woman 

100  Four  fine  artichoaks  for  desart 

101  Two  musical  and  two  turkish  figures 

102  Twelve  table  knives,  and  twelve  forks  3 pronged,  neatly  mounted 
with  silver,  in  a shagreen  case 

103  Twelve  desart  knives  and  forks  ditto 


Finis 


130 


SELECTED  BIBLIOGRAPHY 


Bemrose,  William.  Boiv,  Chelsea  and  Derby  Porcelain.  1898. 

Burton,  William.  A History  and  Description  of  English  Porcelain.  1902. 
Chaffers,  William.  Marks  and  Monograms  on  European  and  Oriental  Pottery  and 
Porcelain.  1863  and  onwards. 

Church,  A.  H.  English  Porcelain.  1885  (revised  ed.  1904). 

Franks,  Augustus  W.  “ Notes  on  the  Manufacture  of  Porcelain  at  Chelsea.”  1862. 

( Archaeological  Journal , xix.,  340.) 

Haslem,  John.  The  Old  Derby  China  Factory.  1876. 

Hobson,  R.  L.  Catalogue  of  English  Porcelain  in  the  British  Museum.  1905. 

,,  „ Worcester  Porcelain.  1910. 

Jewitt,  Llewellynn.  The  Ceramic  Art  of  Great  Britain.  1878. 

Marryat,  Joseph.  A History  of  Pottery  and  Porcelain.  1850  (3rd  ed.  1868). 
Nightingale,  J.  E.  Contributions  towards  the  History  of  Early  English  Porcelain. 
1881. 

Rackham,  Bernard.  Catalogue  of  the  Schreiber  Collection  in  the  Victoria  and  Albert 
Museum.  Vol.  I.  Porcelain.  1915. 

Rackham,  Bernard.  Catalogue  of  the  Herbert  Allen  Collection  of  English  Porcelain. 

1917- 

Reeks,  Trenham,  and  Rudler,  F.  W.  Catalogue  of  the  Pottery  and  Porcelain  in  the 
Museum  of  Practical  Geology,  Jermyn  Street.  1871. 


INDEX 


Aisop,  subjects  from,  41,  43,  58 
Agriable  Le(on,  L',  53 
Analyses,  23,  36,  52 
Apollo,  figures,  53,  57 
Astbury,  John,  20 
Atalanta,  group  on  vase,  44 
Aveline,  38 


Bacon,  John,  R.  A.,  17,  57 

Balechon,  J.  J.,  38 

Battersea,  16,  17 

Beckford,  65 

Berghem,  11 

Bessborough,  Lord,  55 

Birds,  figures  of,  39 

Biscuit  figures,  11,  63 

Blemont,  Barthelemy  de,  43 

Blue  and  white,  4,  6,  42 

Blue,  mazarine,  11 

Bocages,  53 

Bolton,  19 

Bone-ash,  use  of,  51 

Bottger,  J.  F.,  4 

Boucher,  9,  n,  38,  43,  53,  55 

Bow,  4,  16,  17,  21,  31,  51,  58,  65 

Bowcocke,  John,  19,  37 

Bristol,  58 

Britannia,  figures,  25,  53 
British  Museum,  44,  49,  62 
Broderip,  E.  F.,  62 
Buen  Retiro,  33 

Burnsall’s  rooms,  47,  48,  50,  51 
Burslem,  20 
Bustelli,  F.,  26 


Camden,  Lord,  50 
Campbell,  R.,  16 
Capodimonte,  33 
Cavendish,  Lady,  37 
Chandelier,  10 
Chantilly,  4 

Charity,  Roman,  51,  52,  53 
Charles  III  of  Naples,  55 
Charlotte,  Queen,  49,  54,  65 
Chatham,  Lord,  50 
Chelsea  Church,  view  of,  56 
Chelsea-Derby,  63 
Chesterfield  vase,  49 
China,  clay  from,  18 
Chinese  Imari,  6 
Chinoiseries,  38,  54 
Christie’s  sale-rooms,  51,  54,  58 
Cibber,  5 

Cimon  and  Pera,  see  Roman  Charity 

Claret  colour,  n 

Classical  revival,  49,  63 

Clock,  54 

Cockpit  Hill,  61 

Commedia  dell'  Arte,  6,  8,  37,  40 

Conway,  50 

Cooper’s  Company,  bowl,  65 
Cox,  James,  51,  61 


Crawfish  salts,  21,  39,  42 
Crispe,  17 

Cumberland,  Duke  of,  31,  32,  43 


“ D.  1750,”  mark,  62 
Dated  specimens,  27,  37,  58,  65 
Delany,  Mrs.,  43 
Diamond,  Dr.,  33 
Diana,  group,  64 
Dingwall,  Lt.-Col.  K.,  22 
Dogget’s  coat  and  badge,  22 
Donaldson,  John,  38 
Dossie,  Robert,  15,  16 
Dresden,  4,  31 
Du  Barry,  Madame,  10 
Dudley,  Lord,  49,  54 

Duesbury,  William,  32,  51,  58,  61,  63-65 
Dutch  peasants,  40 
Dwight,  John,  15 
Dyer,  Richard,  19 


Eccles,  Herbert,  36,  51 
Enamellers,  outside,  19,  22 
Exotic  birds,  9 


Fable  subjects,  41,  43,  58 
Factory,  site  of  Chelsea,  56 
Fanlasievugel,  9 
Faulkner,  Sir  Robert  (sic),  31 
Fawkener,  Sir  Everard,  31,  32,  37,  47 
Fonthill,  65 

Ford’s  sale-rooms,  34,  56 
Foundling  Hospital,  48 
Fox,  Henry,  32,  37 
Frankenthal,  53 
Frederick,  Prince  of  Wales,  25 


Gardner,  Dr.  Bellamy,  22 
Gamier,  Dr.  George,  48 
George  II,  31 
George  III,  38,  54,  63,  64 
Gilding,  types  of,  32 
Giles,  J.,  19 

Glaisher,  Dr.  J.  W.  L.,  22 
“ Goatand  bee  ” jugs,  19,  20,  66 
Gouyn,  Charles,  24-27,  41 
Greenwich,  16 
Grounds,  coloured,  9 


Hamilton  sale,  58 
Hamilton,  Sir  William,  63 
Hanbury  Williams,  Sir  Charles,  32,  37 
Hanway,  Jonas,  17 
Harlequinade,  6 
Heath,  Christopher,  61 
Heath,  John,  51,  61,  62,  65 
Hertford,  Francis,  Marquis  of,  31 


133 


INDEX 


Hill,  Aaron,  15 
“ Hob  in  the  Well,”  5 
Holland  House,  37 
Holmes,  George,  58 
Hondekoeter,  54 
Hughes,  10 

Hurdy-gurdy  players,  figures,  38,  40 
Hurlbutt,  22 
Hyam  and  Co.,  25 


Naples,  King  of,  33 
Nevill,  Lady  Dorothy,  27 
Newcastle-under-Lyme,  16 
Nollekens,  18,  57,  66 
Nurse,  Palissy,  43 


O’Neale,  O’Neil,  58 
Orleans,  Duke  of,  33 


Ilchester,  Lord,  32 
Imari,  4,  6,  36 
India  plants,  9,  62 
Italian  comedy,  6,  8,  37 


Japan  patterns,  5,  36 
Jason  and  Medea,  64,  65 
Johnson,  Dr.,  65 
Joicey  Bequest,  23 
Jones,  china  dealer,  51 


Parr,  Samuel,  20 
Patterns,  Japanese,  5 
Perseus  group,  41,  64 
Pierrot,  40 
Pieta,  group,  52 
Planche,  Andrew,  61,  62 
Pococke,  Dr.  Richard,  16 
Pompadour,  Madame  de,  10 
Poterat,  E.,  3 
Powys,  Mrs.,  43 
Printing,  transfer,  18,  35 


Kakiemon,  5,  6,  25,  36 
Handler,  7,  26,  40,  53 
Kauffmann,  Angelica,  11 
Keys,  Samuel,  18 
King,  H.M.  the,  54 


Lacework  on  figures,  63 
Lagrave,  24 
Lambeth,  16 
Landscapes,  green,  55 
Lansdowne  MSS,  33 
Lawton,  Thomas,  20 
Leda,  43 

Limehouse,  16,  17 
Liverpool,  Lady,  54 
London  Museum,  23 
Longton  Hall,  58,  61,  62 
Louis  XV  style,  64 
Lustre,  10,  43 
Luynes,  Due  de,  19 


Macdonald,  Mrs.  A.  R.,  20 
Madonna  and  Child,  40 
Madrid,  33 

Mann,  Sir  Horace,  49 

Map-seller,  figure,  40 

Maria  Walburga  of  Saxony,  55 

Marie  Antoinette,  53 

Marks,  62,  64 

Mason,  31,  34,  50 

Maypole  group,  40 

Mazarine-blue,  n,  43 

Mecklenburg-Strelitz,  Duke  of,  49,  55 

Medici  porcelain,  3 

Meir,  Richard,  20 

Meissen,  4,  6,  1 1,  26,  31,  37,  38,  40,  42,  55-58 

Mennecy,  4,  26 

Modellers,  Chelsea,  57 

Monk,  satirical  figure,  57 

Monkey  figures,  8 

“ Moons,”  21,  35,  52 

Morgan,  Octavius,  31 

Muses,  figures  of,  53,  57 

Music  Lesson  group,  53,  57 


“ R,”  mark,  57 
Radford,  Mrs.,  34 
Read,  R.  W.,  34 
Reinicke,  Peter,  37 
Reynolds,  C.  W.,  27 
Rodney,  Lord,  65 
Roman  Charity,  51-53 
Rose  Pompadour , 10 
Roubiliac,  57 
Rouen,  3 

Rouquet,  17,  32,  33 
Rubens,  n,  53 
Russell,  William,  20 


Saint  Cloud,  4,  26 
Salt-box,  man  playing  on,  44 
Savoyard,  figure,  40 
Scent-bottles,  56 

Sehauessen,  7 

Schreiber  collection,  21,  22,  25,  42,  49,  50,  53,  65,  66 

Seals,  56,  57 

Seasons,  figures,  53 

Sevres,  10,  52,  55,  63,  64 

Shaw,  Simeon,  19 

Silver  shapes,  20,  26 

Simpson,  Aaron  and  Carlos,  19,  20 

Singeries,  8 

Smith,  J.  T.,  18,  57 

South  Kensington  Loan  Exhibition,  33,  49,  54,  55 

Sprimont,  N.,  24,  25,  27,  31,  33,  35,  47,  48 

Stables,  S.,  24,  25 

Stepney,  16,  17 

Strawberry  decoration,  62 

Strawberry  Hill,  49,  65 


Table  decorations,  7 
Teniers,  11 
Thomas,  Francis,  51 
Thomson,  Miss  Emily,  54 
Thrale,  Mrs.  65 
Tiffin,  W.  F.,  66 
Toys,  porcelain,  56 
Transfer  printing,  18,  35 
Trembleuse  saucer,  55 
Triangle  mark,  20 


134 


INDEX 


Una,  figure,  53 


Venice,  anchor  mark,  11 
Victoria,  Queen,  54 
Vincennes,  4,  10,  19 


Wedgwood,  Carlos,  20 
Wedgwood,  Josiah,  63 
Wilkes,  figure,  50 
Willett  collection,  20 
Windsor,  43 
Worcester,  16,  58 


Wales,  Frederick,  Prince  of,  25 
Wales,  George  III  as  Prince  of,  38 
Walpole,  H.,  21,  42,  49,  65 
Ward,  Thomas,  20 
Watteau,  9,  54,  55 


Yorke,  Colonel,  33 


Zoffany,  63 


Printed  in  Great  Britain  by  Butler  & Tanner,  Frome  and  London, 


PLATES 


PLATE  6. 


Fig.  i.  Salt-cellar  dated  1750  and  mark  on  same. 

H.  2 ins.  (See  page  21.) 

In  the  collection  of  I)r.  and  Mrs.  Bellamy 
Oardn  er. 


Fig.  2.  Three  “ goat  and  bee  ” cream-jugs, 
one  dated  1745.  H.  4J  ins.  (See 
page  20.) 

In  the  collection  0/  Lord  and  Lady  Fisher. 


PLATE  7. 


Coffee-pot  with  “ raised  flowers  ” in 
colours.  Triangle  mark.  H.  9J  ins. 

(See  page  21.) 


PLATE  8. 


Fig.  i.  Cane-handle.  H.  3 ins.  (See  page  21.) 

In  the  collection  of  Mrs.  Radford. 


Fig.  2.  Britannia  bemoaning  the  death  of 
Frederick  Prince  of  Wales  (d.  1751). 

H.  7 ins.  (See  page  25.) 

In  the  collection  of  Mrs.  Radford. 


PLATE  9. 


Tea-pot.  Chinaman  riding  a parrot. 

Triangle  mark.  H.  6j  ins.  (See  page 
21.) 

In  the  collection  of  Mr.  Wallace  Elliot. 


b 


PLATE  io. 


Group  of  lovers.  Mark,  a trident  in- 
tersecting a crown,  in  underglaze  blue. 

H.  9 ins.  (See  page  22.) 

In  the  Franks  Collection,  British  Museum. 


PLATE  ii. 


Fig.  i.  Figure  of  a girl.  H.  7J  ins.  (Seepage 
22.) 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


Fig.  2.  Dancing  girl  and  boy  with  hurdy-gurdy. 

H.  5 1 ins.  (See  page  22.) 

Victoria  and  Albert  Museum.  Given  by  Lt.- 
Co I.  K.  Dingwall,  D.S.O.,  through  the  National 
Art-Collections  Fund. 


PLATE  12. 


Fig.  I.  Figure  of  Kuan-yin,  in  imitation  of 
blanc  de  Chine  porcelain.  Raised  anchor 
mark.  H.  4^  ins.  (See  page  36.) 

In  Ihe  collection  0/  Mrs.  Radford. 


Fig.  2.  Cup  with  prunus-blossom  in  relief,  in 
imitation  of  blanc  de  Chine  porcelain. 
Raised  anchor  mark  H.  3 ins.  (See 
page  36.) 


PLATE  13. 


Fig.  1.  Chinese  musician.  H.  ins.  (See 
page  38.) 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


Fig.  2.  The  Doctor, from  a set  of  Italian  comedy 
figures.  Raised  anchor  mark.  H.  7^ 
ins.  (See  page  37.) 

In  the  collection  of  Mrs.  Radford. 


c 


. 


PLATE  14. 


Fig.  1.  Pair  of  pheasants.  Raised  anchor  mark 
in  red.  H.  5^  and  4J  ins.  (See  page 
39-) 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


Fig.  2.  Goose,  peacock  and  blackcap.  Raised 
anchor  mark,  in  the  two  latter  cases 
in  red.  H.  4I  to  7}  ins.  (See  page  39.) 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


Fig.  3.  Pair  of  jays.  Raised  anchor  mark  in 
red.  H.  6J  ins.  (See  page  39.) 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


PLATE  15. 


George  III  as  Prince  of  Wales  (1751-60). 

H.  11  ins.  (See  page  38.) 

In  the  collection  of  Mrs.  Radford. 


. ..  . 


PLATE  1 6. 


Winter.  H.  12  ins.  (See  page 
In  the  collection  of  Mr. 


38.) 

F.  E.  Sidney. 


PLATE  17. 


Hurdy-gurdy  player  ; from  a Meissen 
model.  Raised  anchor  mark.  H.  6 ins. 

(See  page  38.) 

In  the  collection  of  Mr.  C.  H.  B.  Caldu-ell. 


' ' 


/ 


' 


PLATE  1 8. 


Fig.  i.  Chinese  group  and  figure.  Marks,  raised 
anchor  and  raised  red  anchor  respectively. 

H.  8 1 ins.  and  3f  ins.  (See  page  38.) 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


Fig.  2.  L es  Delices  de  I’Enfance,  engraved  by 
J.  J.  Balechon  after  Boucher.  (See 

page  38.) 


PLATE  19. 


Fig.  1.  Teapot  of  silver  shape,  the  leaves  green 
and  yellow,  the  spout  pink,  handle 
pink  and  turquoise.  H.  5 ins.  (See 
page  41.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Fig.  2.  Leaf-shaped  dish,  purple  edge  and 
veining  ; flowers  in  colours.  Red 
anchor  mark.  L.  1 1 ins.  (See  page 
41-) 

In  the  collection  of  Dr.  and  Mrs.  Bellatny 
Gardner. 


PLATE  20. 


Fig.  i.  Cream-jug  of  peach-shaped  section, 
with  Kakiemon  decoration,  “squirrel 
and  vine  ” pattern.  H.  2§  ins.  (See 
page  36.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Fig.  2.  Two  cups  and  saucer,  flowers  in  colours 
and  pink  and  green  acanthus  leaves  in 
relief.  Red  anchor  mark.  Cups,  H. 

1 J ins.,  2\  ins.  Saucer,  D.  5^  ins.  (See 
page  41.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Fig.  3.  Cream-jug,  flowers  in  colours,  green 
handle,  brown  rim.  H.  3!  ins.  (See 
page  41.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


&L,- 


PLATE  21. 


Fig.  i.  Cup  and  saucer,  Oriental  flowers  and 
butterflies.  Cup,  H.  2 ins.  Saucer, 

D.  ins.  (See  page  44.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner . 


Fig.  2.  Plate,  imitating  Japanese  Imari  porce- 
lain, underglaze  blue,  red,  yellow,  green 
and  gold.  D.  12  ins.  (See  page  36.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


e 


PLATE  22. 


Fig.  i.  Barrel-shaped  mug,  flowers  in  colours, 
purple  edge.  H.  3!  ins.  (Seepage  41.) 

In  the  collection  of  Lt.-Col.  G.  B.  Croft' Lyons. 


Fig.  2.  Plate,  painted  in  colours  in  imitation  of 
Chinese  porcelain  of  the  famille  rose. 

D.  7 ins.  (See  page  4.) 

In  the  collection  of  Mr.  Herbert  Allen. 


PLATE  23. 


Fig.  1.  Candlestick,  one  of  a set  of  six,  colours 
and  gilding.  Gold  anchor  mark.  H. 

7 4 >ns.  (See  page  55.) 

In  the  collection  of  Lt.-Col.  O.  B.  Croft  Lyons. 


Fig.  2.  Plate  with  Aisop’s  fable  of  the  Fox,  the 
Dog  and  the  Cock.  D.  9 ins.  (See 

page  41.) 

In  the  Schreiber  Collection,  Victoria  and  Albert 
Museum. 


PLATE  24. 


Dish,  painted  in  the  Meissen  style  ; gold 
rim.  Red  anchor  mark.  D.  i8f  ins. 

(See  page  41.) 

In  the  Victoria  and  Albert  Museum. 


PLATE  25. 


Fig.  I.  Dish,  landscape  in  purple  in  the  Meissen 
style.  Red  anchor  mark.  L.  8 ins. 

(See  page  41.) 

In  the  collection  of  Lt.-Col.  O.  B.  Croft  Lyons. 


Fig.  2.  Dish,  harbour  scene  in  colours  in  the 
Meissen  style,  brown  rim.  L.  8 ins. 

(See  page  41.) 

In  the  collectim  of  Mr.  Herbert  Allen. 


/ 


, - .. 


' 


PLATE  26. 


Fig.  1.  Tureen  in  the  shape  of  a bundle  of 
asparagus.  Red  anchor  mark,  also  the 
numeral  51.  H.  4,!  ins.  L.  7 ins. 

(See  page  41.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Fig.  2.  Tureen  in  the  shape  of  a rabbit.  Red 
anchor  mark,  also  “ No.  1.”  H.  9 ins. 

(See  page  41.) 

In  the  Schreiber  Collection,  Victoria  and  Albert 
Museum. 


. 


PLATE  27. 


Fig.  1.  Plate,  fruit  in  colours,  gilt  rim. 

Gold  anchor  mark.  D.  8 ins.  (Sec 
page  41.) 

In  the  collection  o)  Dr.  and.  Mrs.  Bellamy 
Gardner. 


Fig.  2.  Plate,  flowers  in  colours,  brown  rim. 

Red  anchor  mark.  D.  9§  ins.  (See 
page  41.) 


In  the  Victoria  and  Albert  Museum. 

( Jermyn  Street  Collection.) 


; r i 


s • • r 

7\*  " .•  ■ ' ' . 


PLATE  28. 


Sweetmeat  tray,  centrepiece  in  two 
parts.  H.  14  ins.  (See  page  42.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


'ill 


PLATE  29. 


Vase.  H.  11  ins.  (See  page  42.) 

In  the  Franks  Collection,  British  Museum. 


PLATE  30. 


Fig.  1.  Plate,  painted  in  underglaze  blue. 

D.  8f  ins.  (See  page  42.) 

In  the  collection  of  Mr.  E.  F.  Broderip. 


Fig.  2.  Basket  painted  in  underglaze  blue. 

L.  gl  ins.  (See  page  42.) 

In  the  collection  of  Mr.  K.  F.  Broderip. 


PLATE  31. 


Ratcatcher  and  Pierrot.  Red  anchor 
mark.  H.  5}  ins.  and  6 ins.  (See 
page  40.) 

In  the  collection  of  Lord  and  Lady  Fisher. 


PLATE  32. 


Hurdy-gurdy  player  and  dancing 
peasant.  Red  anchor  mark.  H.  and 
7$  ins.  (See  page  40.) 

In  the  collection  of  Lord  and  Lady  Fisher. 


.. 


PLATE  33. 


Pedlar  and  map-seller.  Red  anchor 

mark.  H.  74  ins.  (See  page  40.) 

In  the  collection  of  Mrs.  Radford. 


h 


PLATE  34. 


Fisherman  with  a basket.  Red  anchor 
mark.  H.  9|  ins.  (See  page  40.) 

In  the  collection  of  Lord  and  Lady  Fisher. 


PLATE  35. 


River  god.  Red  anchor  mark.  H. 

5i  ins.  (See  page  40.) 

In  the  collection  of  Mr.  Alfred  E.  Hutton. 


PLATE  36. 


River  goddess.  Red  anchor  mark. 

H.  5^  ins.  (See  page  40.) 

In  (he  collection  of  Mr.  Alfred  E.  Iludon. 


- 


PLATE  37. 


Ceres.  Red  anchor  mark.  H.  12J 
ins.  (See  page  40.) 

In  the  collection  of  Lord  and  Lady  Fisher. 


I 


r 


PLATE  38. 


Group  of  figures  dancing  round  a may- 
pole.  Red  anchor  mark.  H.  14  ins. 

(See  page  40.) 

In  the  collection  ol  Lord  and  Lady  Fisher. 


PLATE  39. 


Madonna  and  Child.  Red  anchor  mark. 
H.  8£  ins.  (See  page  40.) 


v» 


PLATE  40. 


Group  of  figures  with  fruit.  Red 
anchor  mark.  Also  an  anchor  in  gold. 

H.  6 J ins.  (See  page  40). 


. 


PLATE  41. 


Milkmaids  and  boy.  Rad  anchor 
mark.  H.  6|  ins.  (See  page  40.) 


k 


■ ■ ■ y*  • 


■ 


PLATE  42. 


Perseus  and  Andromeda,  colours  and 
gilding.  Red  anchor  mark.  H.  ii| 
ins.  (See  page  41.) 

In  the  collection  of  Lord  and  Lady  Fisher. 


F:.r  - 


PLATE  43. 


Scent-bottles,  some  bearing  French 
mottoes. 

1.  The  Fox  and  the  Crow. 

2.  Fruit  and  flowers. 

3.  Two  amorous  doves. 

4.  Cupid  sharpening  his  arrows. 

“ IL  ENTRERA  MIEUX.” 

5.  A fountain:  “FONTAINE 

D’AMOUR.” 

6.  Boys  distilling  a love  potion. 

H.  2i  to  3§  ins.  (See  page  56.) 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 


. 

j 


PLATE  44. 


Four  scent-bottles. 

1.  Chinese  lady. 

2.  Priest  reading  a book  inscribed 
“ TOTA  FIDE.” 

3.  Nun. 

4.  Friar. 

H.  3I  to  3!  ins.  (See  page  56.) 

In  Vie  collection  of  Mr.  11.  W.  M.  Walker. 


PLATE  45. 


Six  scent-bottles,  some  with  French 
mottoes, 

1.  Chinese  family  ; the  boy  holding 
an  apple  “VOUS  ERITE  LA 
POMME.” 

2.  Provender  for  the  monastery. 

3.  Cupid  with  a heart.  “MON 
CCEUR  EST  HEUREUX.” 

4.  Mazarine-blue  ground  with  gild- 
ing and  figure-subject  in  colours. 

“POUR  LA  PLUS  BELLE.” 

5.  Mazarine-blue  ground  with  gild- 
ing ; flowers  in  colours. 

6.  Mazarine-blue  ground  with  gilding  ; 
birds  in  colours. 

H.  3}  to  3!  ins.  (See  page  56.) 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 


I 


. 


......  . •• 


PLATE  46. 


Fig.  1.  Four  Patch-boxes  in  the  shape  of  heads, 
some  with  brilliants  inlaid  to  form  the 
eyes.  Metal  mounts,  and  bases  of 
Battersea  enamel,  etc.  H.  if  to  2 J ins. 
Scent-bottle  in  the  form  of  two  masked 
faces,  male  and  female.  H.  3}  ins. 

(See  page  56.) 

In  the  collection  of  Mr.  R.  TV.  M.  Walker. 


Fig.  2.  Three  Patch-boxes. 

1.  The  British  lion  defeating  the 
Gallic  cock.  H.  2\  ins. 

2.  Boy  with  flute  and  sheep.  H. 

2f  ins. 

3.  Venus  blindfolding  Cupid,  colours 
and  gilding.  H.  2'  ins.  (See  page 
56.) 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 


PLATE  47. 


Fig.  1.  Three  toy  figures. 

1.  Sportsman.  Red  anchor  mark. 

H.  2\  ins. 

2.  Woman  on  horseback.  Red 
anchor  mark.  H.  2 1 ins. 

3.  Man  writing  in  book.  Mark, 
two  red  anchors.  H.  2\  ins. 

(See  page  56.) 

In  the  collection  of  Mr.  It.  W.  M.  Walker. 


Fig.  2.  Eight  seals,  with  French  mottoes. 

1.  Chinese  ’cellist.  “ JE  VAIS  AU 
CCEUR.” 

2.  Pensive  Cupid.  “ JE  PENSE  A 
VOUS.” 

3.  Cat.  “JE  PENSE  A VOUS.” 

4.  Columbine.  “ TOUJOURS 

GAY.” 

5.  Harlequin.  “ TOUJOURS  GAY.” 

6.  Squirrel  with  nut.  “ ACTI- 
VITE.” 

7.  Cupid  and  a globe.  “ JE  SOU- 
TIENS  LE  MONDE.” 

8.  Harlequin.  “ L’AMOUR  REND 
BADIN.” 

H.  | to  ij  ins.  (See  page  56.) 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 


Fig.  3.  Four  figures  of  gardeners  ; colours  and 
gilding. 

1.  With  wheelbarrow.  Mark  R. 
incised.  H.  2|  ins. 

2.  With  scythe.  Gold  anchor  mark 
, and  B.  incised.  H.  2\  ins. 

3.  Raking.  Gold  anchor  mark  and 
R.  incised.  H.  2J  ins. 

4.  With  roller.  Gold  anchor  mark. 

H.  2|  ins.  (See  page  56.) 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 


- 


PLATE  48. 


Needle-cases,  some  bearing  French 
mottoes. 

1.  A birdcage  on  a pillar.  “VOTRE 
BEAUTE  ME  REND  ESCLAVE.” 

Gilding  only  ; the  inscription  in 
red. 

2.  Cupid  and  two  doves.  Colours  and 
gilding.  “ TOUJOUR  HEUREUX.” 

3.  Two  storks  eating  an  eel  among 
bulrushes.  No  gilding. 

4.  Shepherdess  ; below,  Cupid  with 
hearts  on  a tray  ; colours  and 
gilding,  “RECEVEZ  LE  PLUS 
FIDELLE.” 

5.  Harlequin  ; below,  a dove  ; 
colours  and  gilding,  “ FIDELE 
EN  ABSENCE.” 

6.  Mazarine-blue  ground  with  gild- 
ing and  birds  in  colours. 

7.  Columbine  ; below,  a caged  bird  ; 
colours  and  gilding,  “J’AIME 
LA  LIBERTE.” 

8.  Turkish  lady  ; below,  roses  in 
colours  on  gold.  11  POINT  DE 
ROSES  SANS  EPINES.” 

H.  4!  to  5f  ins.  (See  page  56.) 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 


PLATE  49. 


Fig.  1.  Cup  and  saucer,  birds  in  colours,  gold 
rim.  Gold  anchor  mark.  Cup,  H.  2§ 
ins.  Saucer,  D.  5i  ins.  (See  page  55.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Fig.  2.  Cup  and  saucer,  landscapes  in  green 
camaieu,  gold  borders.  Gold  anchor 
mark.  Cup,  H.  ins.  Saucer,  D. 

4f  ins.  (See  page  55.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Fig.  3.  Cup  and  saucer,  mazarine-blue  and  gold, 
flowers  in  colours.  Gold  anchor  mark 
on  saucer.  Cup,  H.  2§  ins.  Saucer, 

D.  4f  ins.  (See  page  55.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


w 


. 


PLATE  50. 


Fig.  1.  Plate,  green  scale  pattern  and  gilding, 
bird  in  colours.  Gold  anchor  mark. 

D.  8 ins.  (See  page  55.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Fig.  2.  Cups  and  saucer,  claret-colour  and 
gilding,  flowers  in  colours.  Gold 
anchor  mark.  Cups,  H.  2 ins.,  2&  ins. 

Saucer,  D.  5 ins.  (See  page  55.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


PLATE  si. 


Fig.  i.  Cup,  mazarine-blue  and  gold.  Gold 
anchor  mark.  H.  3jj  ins. 

Cup,  birds  and  fruit  in  colours  on  gold. 

Gold  anchor  mark.  H.  3 f ins.  (See 
page  55-) 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 


Fig.  2.  Tea-pot,  sugar-basin  and  cream-jug. 

Claret-colour  with  gilding  and 

subjects  in  colours.  Gold  anchor 

mark.  H.  3 ins.  to  5$  ins.  (See 
page  54.) 

Inthe  Victoriaand  ATtjert  Museum.  Bequeathed 
by  Miss  Emily  S.  Thomson,  of  Dover. 


PLATE  52. 


Bowl,  colours  and  gilding.  The  lower 
aspect  shows  a view  of  Chelsea  Old 
Church  and  site  of  the  Pottery.  Gold 
anchor  mark.  H.  4L  ins.  D.  io§ 
ins.  (See  page  56.) 

In  the  collection  of  Mr.  R.  W.  M.  Walker. 


PLATE  53. 


Fig.  i.  Beaker,  flowers  in  colours  and  gilding  ; 

round  the  middle,  a band  of  pink. 

Gold  anchor  mark.  One  of  a pair. 

H.  7f  ins.  (See  page  55.) 

In  the  collection  of  Lt.-Col.  G.  B.  Croft  Lyons. 


Fig.  2.  Covered  porringer  with  stand,  flowers  in 
colours  and  gilding,  turquoise  and  gold 
handles.  Gold  anchor  mark.  One  of  a 
pair.  H.  5!  ins.  D.  7J  ins.  (See 
page  50.) 

In  the  collection  of  Lt.-Col.  G.  B.  Croft  Lyons. 


n 


PLATE  54. 


Fig.  i.  Vase,  turquoise-blue  ground,  with 
gilding  ; birds  in  colours.  Gold 
anchor  mark.  One  of  a pair.  H.  7J 
ins.  (See  page  55.) 

In  the  collection  of  Lt.-Col.  G.  B.  Croft  Lyons. 


Fig.  2.  Set  of  three  vases,  painted  with  Chinese 
ladies  ; gold  borders.  Gold  anchor 
mark.  H.  6f  and  7f  ins.  (See  page 
55-) 

In  the  collection  of  Lt.-Col.  G.  B,  Croft  Lyons. 


PLATE  55. 


Fig.  i 


Vase  of  Sevres  form,  the  upper  part  Fig. 

gold  on  white,  the  lower  in  colours  on 
a turquoise  ground.  One  of  a set  of 
three.  H.  7 ins.  (See  page  55.) 

In  the  collection  of  Lt.-Col.  G.  B.  Croft  Lyons. 


2.  Bottle,  painted  in  imitation  of  a Chinese 
original  in  red  and  gold.  One  of  a pair. 

H.  7V  ins.  (See  page  4.) 

In  the  collection  of  Mrs.  Budford. 


PLATE  56. 


Fig.  1.  Vase,  mazarine-blue  ground  with  Fig.  2. 

gilding  and  Cupids  in  the  style  of 
Boucher  in  crimson.  H.  6f  ins.  (See 
page  55.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


Derby-Chelsea  Vase,  blue  enamel  and 
gilding.  One  of  a pair.  Mark  48 
incised.  H.  6 1 ins.  (See  page  63.) 

In  the  collection  of  Lt.-Col.  G.  B.  Croft  Lyons. 


••  . 

!■).  "i 

■ 

. 

PLATE  57. 


Vase  from  the  set  of  seven  known  as  the 
“Dudley  Vases.”  Claret-coloured 
ground  with  gilding  and  panel  in 
reserve  ; Diana  rescuing  Arethusa 
from  the  importunities  of  Alpheus. 

H.  i6f  ins.  (See  page  54.) 

In  the  collection  0/  Lord  Bearsted. 


o 


" 

. - I 

. 

' 


PLATE  58. 


Two  vases  from  the  set  of  seven  known 
as  the  “Dudley  vases.”  Claret- 
coloured  ground  with  gilding  and  panels 
in  reserve.  Diana  asleep  and  a satyr, 
and  birds  in  the  style  of  Hondekoeter. 

Gold  anchor  mark.  H.  13I  ins.  (See 
page  54.) 

In  the  collection  of  Lord  Bearsled. 


•'■■■  ■■ 


,0 


' ■ . 'i 

■■ 


PLATE  59. 


Fig.  1 


Cupids  as  drummer  and  vivandier. 

Colours  and  gilding.  Gold  anchor 
mark.  H.  4!  and  4^  ins.  (See  page 
53-) 

In  the  collection  of  Lord  and  Lady  Fisher. 


Fig.  2.  Cupid  with  bagpipes  and  two  marion- 
ettes. Colours  and  gilding.  Gold 
anchor  mark.  H.  5^  ins.  (See  page 
53) 


Fig.  3.  Pair  of  candlesticks.  Colours  and 
gilding.  Gold  anchor  period.  H.  7 ins. 

(See  page  54.). 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


' • :a- 


• • 


PLATE  60. 


Apollo  and  Bacchus,  perhaps  Spring 
and  Autumn,  from  a set  of  the  four 
seasons  ; colours  and  gilding  ; gold 
anchor  mark.  H.  7J  ins.  (See  page 
53) 


PLATE  61. 


Lord  Camden;  colours  and  gilding;  gold 
anchor  mark.  H.  12^  ins.  (See  page 
50.) 

In  the  collection  of  Lord  and  Lady  Fisher. 


V 


PLATE  62. 


Urania  and  Thalia,  from  a set  of  Apollo 
and  the  Nine  Muses,  in  colours  and 
gilding.  Gold  anchor  mark  and  R 
incised.  H.  15A  ins.  (Seepage  53.) 

In  the  collection  of  Lord  Bearsted. 


PLATE  63. 


Una  or  Britannia,  colours  and  gilding. 

H.  26  ins.  (See  page  53.) 

In  the  collection  of  Mr.  F.  E.  Sidney. 


PLATE  64. 


Piela.  The  stand  mazarine-blue  and 
gold.  Gold  anchor  mark.  H.  15  ins. 

(See  page  52.) 

In  the  collection  of  Lord  Clifford  of  Chvdleigh. 


- .. 


t 


PLATE  65. 


Fig.  1.  Derby-Chelsea  tureen,  sprigs  in  green. 

Polychrome  knob  and  handles.  Gold 
borders.  Mark  D intersected  by  an 
anchor  in  gold.  H.  6|  ins.  (See 
page  64.) 

In  the  collection  of  LI. -Col.  G.  If.  Croft  Lyons. 


Fig.  2.  Derby-Chelsea  cup  and  saucer,  blue 
enamel  and  gold,  with  green  and  gold 
festoons.  Gold  anchor  mark.  Cup, 

H.  ij  ins.  Saucer,  D.  5 ins.  (See 
page  64.) 

In  the  collection  of  Dr.  and  Mrs.  Bellamy 
Gardner. 


'/ 


PLATE  66. 


Fig.  i.  Derby-Chelsea  teapot,  colours  and  gild- 
ing. Mark  D intersected  by  an  anchor 
in  gold.  H.  5 ins.  (See  page  66.) 

In  the  Victoria  and  Albert  Museum. 


Fig.  2.  Derby-Chelsea  plate,  painted  in  imita- 
tion of  “Chinese  Imari  ” in  underglaze 
blue  and  famille  verte  enamels.  Mark 
D intersected  by  an  anchor  in  gold. 

D.  8f  ins.  (See  page  64.) 

In  the  collection  of  Lt.-Col.  C.  B.  Croft  Lyons. 


. 


, . ' 

. . i • V.. 

. ■ ... 


PLATE  67. 


Derby-Chelsea  sugar-basin,  turquoise 
and  gold,  trellis  pattern  in  colours. 
Mark  an  anchor  and  D in  gold.  H. 
5I  ins.  (See  page  64.) 


PLATE  68. 


George  III,  white  biscuit,  blue,  crimson 
and  gold.  Adapted  from  an  engraving 
after  Zoffany.  H.  14  ins.  (See  page 
63-) 

In  the  Franks  Collection,  British  Museum. 


..  . 


PLATE  69. 


Marks. 


/ 


GETTY  CENTER  LIBRARY 


3 3125  00642  2048 


